perusing the poem, the reader must revert, in mind at least, to the prefix, for the necessary explanation. In the former, the poem being a mere paraphrase of the prefix, the interest is divided between the prefix and the paraphrase. In either instance the totality of effect is destroyed.
Of the other original poems in the volume before us, there is none in which the aim of instruction, or truth, has not been too obviously substituted for the legitimate aim, beauty. In our last number, we took occasion to say that a didactic moral might be happily made the under-current of a poetical theme, and, in "Burton's Magazine," some two years since, we treated this point at length, in a review of Moore's "Alciphron" but the moral thus conveyed is invariably an ill effect when obtruding beyond the upper current of the thesis itself. Perhaps the worst specimen of this obtrusion is given us by our poet in "Blind Bartimeus" and the "Goblet of Life," where, it will be observed that the sole interest of the upper current of meaning depends upon its relation or reference to the under. What we read upon the surface would be vox et præterea nihil in default of the moral beneath. The Greek finales of "Blind Bartimeus" are an affectation altogether inexcusable. What the small, second-hand, Gibbon-ish pedantry of Byron introduced, is unworthy the imitation of Longfellow.
Of the translations we scarcely think it necessary to speak at all. We regret that our poet will persist in busying himself about such matters. His time might be better employed in original conception. Most of these versions are marked with the error upon which we have commented. This error is in fact, es-
