himself seems, however, at any rate to be of German origin.
The Magic Dollar—is founded upon a tradition still very current in Germany, and bears some resemblance to the Bottle Imp.
Of the Collier’s Family we can say but little, for, in truth, it is above our comprehension: if it be meant for an allegory, the author should have said so.
The Victim of Priestcraft.—This seems to be the only tale which does not directly or indirectly owe its origin to the monks; it abounds with invective and satire directed against the Romish church, exposes the tricks of the clergy, their sham miracles, reliques, and indulgences. Those who are acquainted with the history of Germany in the 13th and 14th centuries, will know, that the picture of those times, when the knights robbed with the sword, and the priests with the crucifix, is not overcharged.
Kibitz—is a very silly story, and much inferior to all the rest.
The third volume contains six tales, viz. The Field of Terror, Elfin Land, the Tale, the Fatal Marksman, the Hoard of the Nibelungen, and the Erl-King’s Daughter; the first of these contains a fine satire on pretended generosity, and places the triumphs of courage, virtue, and honest integrity in a pleasing light. It is not the best, and is far from being the worst tale in the collection,
Elfin Land—is a very pretty fairy tale, founded on the Rosicrucian system of Salamanders, Gnomes, &c.
The Tale.—This is the most extraordinary story of the whole, and what the author intended is not clear; an adept would easily recognize the green serpent, the four kings, the meteors, the man with the lamp, &c. &c. &c. We know but one way of making gold, and that a very tedious one; instead of obtaining the universal medicine, we get but an alcahest, and that of human life. Whether the author intended to ridicule alchemy, or to intimate his superior knowledge, we must leave to the readers of Theophrastus, Raymond Lully, George Ripley, Basil Valentine, and Van Helmont; perhaps most will be of the opinion that his sentiments are those of Harris, who describes alchemy as “Ars sine arte, cujus principium est mentiri, medium laborare, finis mendicare.”
The Fatal Marksman—is of a very gloomy cast, but still well told; it turns upon a superstition not uncommon in England, that a gun which has killed a man, or balls which have killed game, if recast, will do the same again.
The Hoard of the Nibelungen, and the Erl-King’s Daughter, are the last in the collection, and are rather devoid of interest: events are brought about by supernatural means, which would tell much better if suffered to take place in the common course of things; and magic, which has always been regarded with fear, if not with respect, is almost rendered ludicrous by the use made of it in the course of the above two tales.
Of the whole collection we may say, it is about on a par with the Arabian Nights’ Entertainments, and no doubt will please, if it were only because it is new. The tales are crude and unfinished; still there is in general enough incident to amuse those who are not very fastidious, and more imagination is displayed than is shewn in many of the works of fiction which are obtruded on the public notice from time to time. It is certainly superior to the former attempts, and perhaps a third may be better still; for there must be much of this kind of writing in the German language, which has never yet met the eye of the British public, though well worth translating. We may make one more remark, that is, relative to the typographical execution of the work;—it is extremely incorrect, and appears to have been hurried through the press without reading, or to have been entrusted to some foreigner but ill acquainted with the English language.
Review.—Moral Pastorals, and other Poems. By the Rev. William Dodd, LL.D. Author of Reflections on Death. 12mo. pp. 139. London. Baynes & Son. 1824.
To a mind pleased with rural scenery and rustic manners, there is always something captivating in pastoral poetry, and the pleasure is constantly heightened by the resemblance that the description bears to real life. The little volume before us is one of this description. The incidents are drawn from the pure simplicities of nature.
