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ARTICLE V. THE PEASANT OF BILIDELGERID, A TALE

2 VOLS. SHANDEAN.

This is the only instance in which we shall take the liberty to announce to the public an author hitherto unknown. Thus situated, we shall not presume to prejudice our readers either ways concerning him, but shall simply relate the general plan of the work.

It attempts a combination, which has so happily succeeded with the preceding writer, of the comic and the pathetic. The latter however is the principal object. The hero is intended for a personage in the highest degree lovely and interesting, who in his earliest bloom of youth is subjected to the most grievous calamities, and terminates them not but by an untimely death. The writer seems to have apprehended that a dash of humour was requisite to render his story in the highest degree interesting. And he has spared no exertion of any kind of which he was capable, for accomplishing this purpose.

The scene is laid in Egypt and the adjacent countries. The peasant is the son of the celebrated Saladin. The author has exercised his imagination in painting the manners of the times and climates of which he writes.

ARTICLE VI. AN ESSAY ON NOVEL, IN THREE EPISTLES INSCRIBED TO THE RIGHT HONOURABLE LADY CRAVEN, BY WILL. HAYLEY, ESQ. 4TO

The public has been for some time agreed that Mr. Hayley is the first of English poets. Envy herself scarcely dares utter a dissentient murmur, and even generous emulation turns pale at the mention of his name. His productions, allowing for the very recent period in which he commenced author, are rather numerous. A saturnine critic might be apt to suspect that they were also hasty, were not the loftiness of their conceptions, the majesty of their style, the richness of their imagination, and above all, the energy both of their thoughts and language so conspicuous, that we may defy any man of taste to rise from the perusal, and say, that all the study and consideration in the world could possibly have made them better. After a course however of unremitted industry, Mr. Hayley seemed to have relaxed, and to the eternal mortification of the literary world, last winter could not boast a single production of the prince of song. The muses have now paid us another visit. We are very sensible of our incapacity to speak, or even think of this writer with prosaic phlegm; we cannot however avoid pronouncing, that, in our humble opinion, Mr. Hayley has now outdone all his former outdoings, and greatly repaid us for the absence we so dearly mourned.

We are sensible that it is unbecoming the character of a critic to lay himself out in general and vague declamation. It is also within the laws of possibility, that an incurious or unpoetical humour in some of our readers, and (ah me, the luckless day!) penury in others, may have occasioned their turning over the drowsy pages of the review, before they have perused the original work. Some account of the plan, and a specimen of the execution may therefore be expected.

The first may be dispatched in two words. The design is almost exactly analogous to that of the Essay on History, which has been so much celebrated. The author triumphs in the novelty of his subject, and pays a very elegant compliment to modern times, as having been in a manner the sole inventors of this admirable species of composition, of which he has undertaken to deliver the precepts. He deduces the pedigree of novel through several generations from Homer and Calliope. He then undertakes to characterise the most considerable writers in this line. He discusses with much learning, and all the logical subtlety so proper to the didactic muse, the pretensions of the Cyropedia of Xenophon; but at length rejects it as containing nothing but what was literally true, and therefore belonging to the class of history. He is very eloquent upon the Shepherd of Hermas, Theagenes and Chariclea, and the Ethiopics of Heliodorus. Turpin, Scudery, Cotterel, Sidney, the countess D'Anois, and "all such writers as were never read," next pass in review. Boccace and Cervantes occupy a very principal place. The modern French writers of fictitious history from Fenelon to Voltaire, close the first epistle. The second is devoted to English authors. The third to the laws of novel writing.

We shall present our readers, as a specimen, with the character of that accomplished writer, John Bunyan, whom the poet has generously rescued from that contempt which fashionable manners, and fashionable licentiousness had cast upon him.

"See in the front of Britain's honour'd band,
The author of the Pilgrim's Progress stand.
Though, sunk in shades of intellectual night,
He boasted but the simplest arts, to read and write;
Though false religion hold him in her chains,
His judgment weakens and his heart restrains:
Yet fancy's richest beams illum'd his mind,
And honest virtue his mistakes refin'd.
The poor and the illiterate he address'd;
The poor and the illiterate call him blest.
Blest he the man that taught the poor to pray,
That shed on adverse fate religion's day,
That wash'd the clotted tear from sorrow's face,
Recall'd the rambler to the heavenly race,
Dispell'd the murky clouds of discontent,
And read the lore of patience wheresoe'er he went."

Amidst the spirited beauties of this passage, it is impossible not to consider some as particularly conspicuous. How strong and nervous the second and fourth lines! How happily expressive the two Alexandrines! What a luminous idea does the epithet "murky" present to us! How original and picturesque that of the "clotted tear!" If the same expression be found in the Ode to Howard, let it however be considered, that the exact propriety of that image to wash it from the face (for how else, candid reader, could a tear already clotted be removed) is a clear improvement, and certainly entitles the author to a repetition. Lastly, how consistent the assemblage, how admirable the climax in the last six lines! Incomparable they might appear, but we recollect a passage nearly equal in the Essay on History,

"Wild as thy feeble Metaphysic page,
Thy History rambles into Steptic rage;
Whose giddy and fantastic dreams abuse,
A Hampden's Virtue and a Shakespeare's Muse."

How elevated the turn of this passage! To be at once luxuriant and feeble, and to lose one's way till we get into a passion, (with our guide, I suppose) is peculiar to a poetic subject. It is impossible to mistake this for prose. Then how pathetic the conclusion! What hard heart can refuse its compassion to personages abused by a dream, and that dream the dream of a History!

Oh, wonderful poet, thou shalt be immortal, if my eulogiums can make thee so! To thee thine own rhyme shall never be applied, (Dii, avertite omen).

"Already, pierc'd by freedom's searching rays,
The waxen fabric of his fame decays!"

ARTICLE VII. INKLE AND YARICO, A POEM, BY JAMES BEATTIE, L.L.D. 4TO

This author cannot certainly be compared with Mr. Hayley.

We know not by what fatality Dr. Beattie has acquired the highest reputation as a philosopher, while his poetry, though acknowledged to be pleasing, is comparatively little thought on. It must always be with regret and diffidence, that we dissent from the general verdict. We should however be somewhat apprehensive of sacrificing the character we have assumed, did we fail to confess that his philosophy has always appeared to us at once superficial and confused, feeble and presumptuous. We do not know any thing it has to recommend it, but the good intention, and we wish we could add the candid spirit, with which it is written.

Of his poetry however we think very differently. Though deficient in nerve, it is at once sweet and flowing, simple and amiable. We are happy to find the author returning to a line in which he appears so truly respectable. The present performance is by no means capable to detract from his character as a poet. This well known tale is related in a manner highly pathetic and interesting. As we are not at all desirous of palling the curiosity of the reader for the poem itself, we shall make our extract at random. The following stanzas, as they are taken from a part perfectly cool and introductory, are by no means the best in this agreeable piece. They are prefaced by some general reflexions on the mischiefs occasioned by the sacra fames auri. The reader will perceive that Dr. Beattie, according to the precept of Horace, has rushed into the midst of things, and not taken up the narrative in chronological order.

"Where genial Phoebus darts his fiercest rays,
Parching with heat intense the torrid zone:
No fanning western breeze his rage allays;
No passing cloud, with kindly shade o'erthrown,
His place usurps; but Phoebus reigns alone,
In this unfriendly clime a woodland shade,
Gloomy and dark with woven boughs o'ergrown,
Shed chearful verdure on the neighbouring glade,
And to th' o'er-labour'd hind a cool retreat display'd.

Along the margin of th' Atlantic main,
Rocks pil'd on rocks yterminate the scene;
Save here and there th' incroaching surges gain
An op'ning grateful to the daisied green;
Save where, ywinding cross the vale is seen
A bubbling creek, that spreads on all sides round
Its breezy freshness, gladding, well I ween,
The op'ning flow'rets that adorn the ground,
From her green margin to the ocean's utmost bound.

The distant waters hoarse resounding roar,
And fill the list'ning ear. The neighb'ring grove
Protects, i'th'midst that rose, a fragrant bow'r,
With nicest art compos'd. All nature strove,
With all her powers, this favour'd spot to prove
A dwelling fit for innocence and joy,
Or temple worthy of the god of love.
All objects round to mirth and joy invite,
Nor aught appears among that could the pleasure blight.

Within there sat, all beauteous to behold!
Adorn'd with ev'ry grace, a gentle maid.
Her limbs were form'd in nature's choicest mould,
Her lovely eyes the coldest bosoms sway'd,
And on her breast ten thousand Cupids play'd.
What though her skin were not as lilies fair?
What though her face confest a darker shade?
Let not a paler European dare
With glowing Yarico's her beauty to compare.

And if thus perfect were her outward form,
What tongue can tell the graces of her mind,
Constant in love and in its friendships warm?
There blushing modesty with virtue join'd
There tenderness and innocence combin'd.
Nor fraudful wiles, nor dark deceit she knew,
Nor arts to catch the inexperienc'd hind;
No swain's attention from a rival drew,
For she was simple all, and she was ever true.

There was not one so lovely or so good,
Among the num'rous daughters of the plain;
'Twas Yarico each Indian shepherd woo'd;
But Yarico each shepherd woo'd in vain;
Their arts she view'd not but with cold disdain.
For British Inkle's charms her soul confest,
His paler charms had caus'd her am'rous pain;
Nor could her heart admit another guest,
Or time efface his image in her constant breast,

Her generous love remain'd not unreturn'd,
Nor was the youthful swain as marble cold,
But soon with equal flame his bosom burn'd;
His passion soon in love's soft language told,
Her spirits cheer'd and bad her heart be bold.
Each other dearer than the world beside,
Each other dearer than themselves they hold.
Together knit in firmest bonds they bide,
While days and months with joy replete unnotic'd glide.

Ev'n now beside her sat the British boy,
Who ev'ry mark of youth and beauty bore,
All that allure the soul to love and joy.
Ev'n now her eyes ten thousand charms explore,
Ten thousand charms she never knew before.
His blooming cheeks confest a lovely glow,
His jetty eyes unusual brightness wore,
His auburn locks adown his Shoulders flow,
And manly dignity is seated on his brow."

ARTICLE VIII THE ALCHYMIST, A COMEDY, ALTERED FROM BEN JONSON, BY RICHARD BRINSLEY SHERIDAN, ESQ

There are few characters, that have risen into higher favour with the English nation, than Mr. Sheridan. He was known and admired, as a man of successful gallantry, both with the fair sex and his own, before he appeared, emphatically speaking, upon the public stage. Since that time, his performances, of the Duenna, and the School for Scandal, have been distinguished with the public favour beyond any dramatical productions in the language. His compositions, in gaiety of humour and spriteliness of wit, are without an equal.

Satiated, it should seem, with the applauses of the theatre, he turned his attention to public and parliamentary speaking. The vulgar prejudice, that genius cannot expect to succeed in two different walks, for some time operated against him. But he possessed merit, and he compelled applause. He now ranks, by universal consent, as an orator and a statesman, with the very first names of an age, that will not perhaps be accounted unproductive in genius and abilities.

It was now generally supposed that he had done with the theatre. For our own part, we must confess; we entertain all possible veneration for parliamentary and ministerial abilities; we should be mortified to rank second to any man in our enthusiasm for the official talents of Mr. Sheridan: But as the guardians of literature, we regretted the loss of his comic powers. We wished to preserve the poet, without losing the statesman. Greatly as we admired the opera and the comedy, we conceived his unbounded talents capable of something higher still. To say all in a word, we looked at his hands for the MISANTHROPE of the British muse.

It is unnecessary to say then, that we congratulate the public upon the present essay. It is meaned only as a jeu d'esprit. But we consider it as the earnest of that perseverance, which we wished to prove, and feared to lose. The scene we have extracted, and which, with another, that may be considered as a kind of praxis upon the rules, constitutes the chief part of the alteration, is apparently personal. How far personal satire is commendable in general, and how far it is just in the present instance, are problems that we shall leave with our readers.—As much as belongs to Jonson we have put in italics.

ACT IV

SCENE 4

Enter Captain Face, disguised as Lungs, and Kastril.

FACE. Who would you speak with?

KASTRIL. Where is the captain?

FACE. Gone, sir, about some business.

KASTRIL. Gone?

FACE. He will return immediately. But master doctor, his lieutenant is here.

KASTRIL. Say, I would speak with him.

[Exit Face.
Enter Subtle.

SUBTLE. Come near, sir.—I know you well.—You are my terrae fili—that is—my boy of land—same three thousand pounds a year.

KASTRIL. How know you that, old boy?

SUBTLE. I know the subject of your visit, and I'll satisfy you. Let us see now what notion you have of the matter. It is a nice point to broach a quarrel right.

KASTRIL. You lie.

SUBTLE. How now?—give me the lie?—for what, my boy?

KASTRIL. Nay look you to that.—I am beforehand—that's my business.

SUBTLE. Oh, this is not the art of quarrelling—'tis poor and pitiful!—What, sir, would you restrict the noble science of debate to the mere lie?—Phaw, that's a paltry trick, that every fool could hit.—A mere Vandal could throw his gantlet, and an Iroquois knock his antagonist down.—No, sir, the art of quarrel is vast and complicated.—Months may worthily be employed in the attainment,—and the exercise affords range for the largest abilities.—To quarrel after the newest and most approved method, is the first of sciences,—the surest test of genius, and the last perfection of civil society.

KASTRIL. You amaze me. I thought to dash the lie in another's face was the most respectable kind of anger.

SUBTLE. O lud, sir, you are very ignorant. A man that can only give the lie is not worth the name of quarrelsome—quite tame and spiritless!—No, sir, the angry boy must understand, beside the QUARREL DIRECT—in which I own you have some proficiency—a variety of other modes of attack;—such as, the QUARREL PREVENTIVE—the QUARREL OBSTREPEROUS—the QUARREL SENSITIVE—the QUARREL OBLIQUE—and the QUARREL PERSONAL.

KASTRIL. O Mr. doctor, that I did but understand half so much of the art of brangling as you do!—What would I give!—Harkee—I'll settle an hundred a year upon you.—But come, go on, go on—

SUBTLE. O sir! you quite overpower me—why, if you use me thus, you will draw all my secrets from me at once.—I shall almost kick you down stairs the first lecture.

KASTRIL. How!—Kick me down stairs?—Ware that—Blood and oons, sir!

SUBTLE. Well, well,—be patient—be patient—Consider, it is impossible to communicate the last touches of the art of petulance, but by fist and toe,—by sword and pistol.

KASTRIL. Sir, I don't understand you!

SUBTLE. Enough. We'll talk of that another time.—What I have now to explain is the cool and quiet art of debate—fit to be introduced into the most elegant societies—or the most august assemblies.—You, my angry boy, are in parliament?

KASTRIL. No, doctor.—I had indeed some thoughts of it.—But imagining that the accomplishments of petulance and choler would be of no use there—I gave it up.

SUBTLE. Good heavens!—Of no use?—Why, sir, they can be no where so properly.—Only conceive how august a little petulance—and what a graceful variety snarling and snapping would introduce!—True, they are rather new in that connexion.—Believe me, sir, there is nothing for which I have so ardently longed as to meet them there.—I should die contented.—And you, sir,—if you would introduce them—Eh?

KASTRIL. Doctor, you shall be satisfied—I'll be in parliament in a month—I'll be prime minister—LORD HIGH TREASURER of ENGLAND—or, CHANCELLOR of the EXCHEQUER!

SUBTLE. Oh, by all means CHANCELLOR of the EXCHEQUER! You are somewhat young indeed—but that's no objection.—Damn me, if the office can ever be so respectably filled as by an angry boy.

KASTRIL. True, true.—But, doctor, we forget your instructions all this time.—Let me see—Ay—first was the QUARREL PREVENTIVE.

SUBTLE. Well thought of!—Why, sir, in your new office you will be liable to all sorts of attacks—Ministers always are, and an angry boy cannot hope to escape.—Now nothing, you know, is so much to the purpose as to have the first blow—Blunders are very natural.—Your friends tell one story in the upper house, and you another in the lower—You shall give up a territory to the enemy that you ought to have kept, and when charged with it, shall unluckily drop that you and your colleagues were ignorant of the geography of the country—You foresee an attack—you immediately open—Plans so extensively beneficial—accounts so perfectly consistent—measures so judicious and accurate—no man can question—no man can object to—but a rascal and a knave.—Let him come forward!

KASTRIL. Very good! very good!—For the QUARREL OPSTREPEROUS, that I easily conceive.—An antagonist objects shrewdly—I cannot invent an answer.—In that case, there is nothing to be done but to drown his reasons in noise—nonsense—and vociferation.

SUBTLE. Come to my arms, my dear Kastril! O thou art an apt scholar—thou wilt be nonpareil in the art of brawling!—But for the QUARREL SENSITIVE—

KASTRIL. Ay, that I confess I don't understand.

SUBTLE. Why, it is thus, my dear boy—A minister is apt to be sore.—Every man cannot have the phlegm of Burleigh.—And an angry boy is sorest of all.—In that case—an objection is made that would dumbfound any other man—he parries it with—my honour—and my integrity—and the rectitude of my intentions—my spotless fame—my unvaried truth—and the greatness of my abilities—And so gives no answer at all.

KASTRIL. Excellent! excellent!

SUBTLE. The QUARREL OBLIQUE is easy enough.—It is only to talk in general terms of places and pensions—the loaves and the fishes—a struggle for power—a struggle for power—And it will do excellent well, if at a critical moment—you can throw in a hint of some forty or fifty millions unaccounted for by some people's grandfathers and uncles dead fifty years ago.

KASTRIL. Ha! ha! ha!

SUBTLE. Lastly, for the QUARREL PERSONAL—It may be infinitely diversified.—I have other instances in my eye,—but I will mention only one.—Minds capable of the widest comprehension, when held back from their proper field, may turn to lesser employments, that fools may wonder at, and canting hypocrites accuse—A CATO might indulge to the pleasures of the bottle, and a CAESAR might play—Unfortunately you may have a CAESAR to oppose you—Let him discuss a matter of finance—that subject is always open—there you have an easy answer. In the former case you parried, here you thrust.—You must admire at his presumption—tell him roundly he is not capable of the subject—and dam his strongest reasons by calling them the reasons of a gambler.

KASTRIL. Admirable!—Oh doctor!—I will thank you for ever.—I will do any thing for you!

[Face enters at the corner of the stage, winks at Subtle, and exit.]

SUBTLE. "Come, Sir, the captain will come to us presently—I will have you to my chamber of demonstrations, and show my instrument for quarrelling, with all the points of the compass marked upon it. It will make you able to quarrel to a straw's breadth at moonlight.