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morbid idiocy, which yet it was by no means his intention to represent. He has even by the “burr, burr, burr,”uncounteracted by any preceding description of the boy's beauty, assisted in recalling them. The other is, that the idiocy of the boy is so evenly balanced by the folly of the mother, as to present to the general reader. rather a laughable burlesque on the blindness of anile dotage, than an analytic display of maternal affection in its ordinary workings. In the “Thorn,” the poet himself acknowledges in a note the necessity of an introductory. poem, in which he should have pourtrayed the character of the person from whom the words of the poem are supposed to proceed: a superstitious man moderately imaginative, of slow faculties and deep feelings, “a captain of a small trading vessel, for example, who being past the middle age of life, had retired upon an annuity, or small independent income, to some village or country town of which he was not a native, or in which he had not been accustomed to live. Such men having nothing to do become credulous and talkative from indolence.” But in a poem, still more in a lyric poem (and the NURSE in Shakspeare's Romeo and Juliet alone prevents me from extending the remark even to dramatic poetry, if indeed the Nurse itself can be deemed altogether a case in point) it is not possible to imitate truly a dull and

garrulous discourser, without repeating the ef. fects of dulness and garrulity. However this may be, I dare assert, that the parts (and these form the far larger portion of the whole) which might as well or still better have proceeded from the poet's own imagination, and have been spoken in his own character, are those which have given, and which will continue to give universal delight; and that the passages exclusively appropriate' to the supposed narrator, such as the last couplet of the third stanza;” the seven last lines of the tenth ; ; and the five following stanzas, with the exception of the four admirable lines at the commencement of the fourteenth are felt by many unprejudiced and unsophisticated hearts, as sudden and unpleasant sinkings from the height to which the poet had previously lified them, and to which he again re-elevates both himself and his reader.

** I've measured it from side to side;
"Tis three feet long, and two feet wide.”

f “Nay, rack your brain—'tis all in vain,
I'll tell you every thing I know ;
But to the Thorn, and to the Pond
Which is a little step beyond,
I wish that you would go:
Perhaps, when you are at the place,
You something of her tale may trace.

I'll give you the best help I can:

Before you up the mountain go,
Up to the dreary mountain-top,
I'll tell you all I know.

If then I am compelled to doubt the theory, by which the choice of characters was to be directed, not only a priori, from grounds of reason, but both from the few instances in which the poet himself need be supposed to have been governed by it, and from the comparative inferiority of those instances; still

'Tis now some two-and-twenty years
Since she (her name is Martha Ray)
Gave, with a maiden's true good will,
Her company to Stephen Hill;
And she was blithe and gay,
And she was happy, happy still
Whene'er she thought of Stephen Hill.

And they had fix'd the wedding-day,
The morning that must wed them both;
But Stephen to another maid
Had sworn another oath ;
And with this other maid to church
Unthinking Stephen went—
Poor Martha' on that woeful day
A pang of pitiless dismay
Into her soul was sent;
A fire was kindled in her breast,
Which might not burn itself to rest.

They say, full six months after this,
While yet the summer leaves were green,
She to the mountain-top would go,
And there was often seen.

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more must I hesitate in my assent to the sentence which immediately follows the former citation; and which I can neither admit as particular fact, or as general rule. “The language too of these men is adopted (purified indeed from what appears to be its real defects, from all lasting and rational causes of dislike or disgust) because such men hourly communicate with the best objects from which the best part of language is originally derived ; and because, from their rank in society, and the sameness and narrow circle of their intercourse, being less under the action of social vanity, they convey their feelings and notions in simple and unelaborated expressions.” To this I reply; that a rustic's language, purified from all provincialism and grossness, and so far re-constructed as to be made consistent with the rules of grammar (which are in essence no other than the laws of universal logic, applied to Psychological materials) will not differ from the language of any other man of common-sense, however learned or refined he may be, except as far as the notions, which the rustic has to convey, are fewer and more indiscriminate. This will become still clearer, if we add the consideration (equally important though less obvious) that the rustic, from the more imperfect developement of his faculties, and from the lower state of their cultivation, aims almost D d

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