kept down even in addressing his Sovereign! Look at Mr. Southey's larger poems, his Kehama, his Thalaba, his Madoc, his Roderic. Who will deny the spirit, the scope, the splendid imagery, the hurried and startling interest that pervades them? Who will say that they are not sustained on fictions wilder than his own Glendoveer, that they are not the daring creations of a mind curbed by no law, tamed by no fear, that they are not rather like the trances than the waking dreams of genius, that they are not the very paradoxes of poetry? All this is very well, very intelligible, and very harmless, if we regard the rank excrescences of Mr. Southey's poetry, like the red and blue flowers in corn, as the unweeded growth of a luxuriant and wandering fancy; or if we allow the yeasty workings of an ardent spirit to ferment and boil over-the variety, the boldness, the lively stimulus given to the mind may then atone for the violation of rules and the offences to bed-rid authority; but not if our poetic libertine sets up for a law-giver and judge, or an apprehender of vagrants in the regions either of taste or opinion. Our motley gentleman deserves the strait-waistcoat, if he is for setting others in the stocks of servility, or condemning them to the pillory for a new mode of rhyme or reason. Or if a composer of sacred Dramas on classic models, or a translator of an old Latin author (that will hardly

bear translation) or a vamper-up of vapid cantos and Odes set to music, were to turn pander to prescription and palliater of every dull, incorrigible abuse, it would not be much to be wondered at or even regretted. But in Mr. Southey it was a lamentable falling-off. It is indeed to be deplored, it is a stain on genius, a blow to humanity, that the author of Joan of Arc-that work in which the love of Liberty is exhaled like the breath of spring, mild, balmy, heaven-born, that is full of tears and virgin-sighs, and yearnings of affection after truth and good, gushing warm and crimsoned from the heart-should ever after turn to folly, or become the advocate of a rotten cause. After giving up his heart to that subject, he ought not (whatever others might do) ever to have set his foot within the threshold of a court. He might be sure that he would not gain forgiveness or favour by it, nor obtain a single cordial smile from greatness. All that Mr. Southey is or that he does best, is independent, spontaneous, free as the vital air he draws-when he affects the courtier or the sophist, he is obliged to put a constraint upon himself, to hold in his breath, he loses his genius, and offers a violence to his nature. His characteristic faults are the excess of a lively, unguarded temperament:-oh! let them not degenerate into cold-blooded, heartless vices! If we speak or have ever spoken of Mr. Southey with severity, it is with "the malice of old friends,"

for we count ourselves among his sincerest and heartiest well-wishers. But while he himself is anomalous, incalculable, eccentric, from youth to age (the Wat Tyler and the Vision of Judgment are the Alpha and Omega of his disjointed career) full of sallies of humour, of ebullitions of spleen, making jets-d'eaux, cascades, fountains, and waterworks of his idle opinions, he would shut up the wits of others in leaden cisterns, to stagnate and corrupt, or bury them under ground

"Far from the sun and summer gale!"

He would suppress the freedom of wit and humour, of which he has set the example, and claim a privilege for playing antics. He would introduce an uniformity of intellectual weights and measures, of irregular metres and settled opinions, and enforce it with a high hand. This has been judged hard by some, and has brought down a severity of recrimination, perhaps disproportioned to the injury done. "Because he is virtuous," (it has been asked,) "are there to be no more cakes and ale ?" Because he is loyal, are we to take all our notions from the Quarterly Review? Because he is orthodox, are we to do nothing but read the Book of the Church? We declare we think his former poetical scepticism was not only more amiable, but had more of the spirit of religion in it, implied a more heartfelt trust in nature and providence than his present bigotry. We are at the

same time free to declare that we think his articles in the Quarterly Review, notwithstanding their virulence and the talent they display, have a tendency to qualify its most pernicious effects. They have redeeming traits in them. "A little leaven leaveneth the whole lump ;" and the spirit of humanity (thanks to Mr. Southey) is not quite expelled from the Quarterly Review. At the corner of his pen, "there hangs a vapourous drop profound" of independence and liberality, which falls upon its pages, and oozes out through the pores of the public mind. There is a fortunate difference between writers whose hearts are naturally callous to truth, and whose understandings are hermetically sealed against all impressions but those of self-interest, and a man like Mr. Southey. Once a philanthropist and always a philanthropist. No man can entirely baulk his nature: it breaks out in spite of him. In all those questions, where the spirit of contradiction does not interfere, on which he is not sore from old bruises, or sick from the extravagance of youthful intoxication, as from a last night's debauch, our “laureate” is still bold, free, candid, open to conviction, a reformist without knowing it. He does not advocate the slave-trade, he does not arm Mr. Malthus's revolting ratios with his authority, he does not strain hard to deluge Ireland with blood. On such points, where humanity has not become obnoxious, where liberty has not passed into a by-word, Mr.

Southey is still liberal and humane. The elasticity of his spirit is unbroken: the bow recoils to its old position. He still stands convicted of his early passion for inquiry and improvement. He was not regularly articled as a Government-tool!-Perhaps the most pleasing and striking of all Mr. Southey's poems are not his triumphant taunts hurled against oppression, are not his glowing effusions to Liberty, but those in which, with a mild melancholy, he seems conscious of his own infirmities of temper, and to feel a wish to correct by thought and time the precocity and sharpness of his disposition. May the quaint but affecting aspiration expressed in one of these be fulfilled, that as he mellows into maturer age, all such asperities may wear off, and he himself become

"Like the high leaves upon the holly-tree!"

Mr. Southey's prose-style can scarcely be too much praised. It is plain, clear, pointed, familiar, perfectly modern in its texture, but with a grave and sparkling admixture of archaisms in its ornaments and occasional phraseology. He is the best and most natural prose-writer of any poet of the day; we mean that he is far better than Lord Byron, Mr. Wordsworth, or Mr. Coleridge, for instance. The manner is perhaps superior to the matter, that is, in his Essays and Reviews. There is rather a want of originality and even of impetus: but there is no want