king, « rise, Son of Mora; » 'tis mine to heal the wounds of heroes. Calmar may yet bound on the hills of Morven. »

Never more shall Calmar chase the deer of Morven with Orla; » said the hero, « what were the chase to me, alone? Who would share the spoils of battle with Calmar? Orla is at rest! Rough was thy soul, Orla! yet soft to me as the dew of morn. It glared on others in lightning; to me a silver beam of night. Bear my sword to blue-eyed Mora; let it hang in my empty hall. It is not pure from blood but it could not save Orla. Lay me with my raise the song when I am dark.

friend;

They are laid by the stream of Lubar. Four gray stones mark the dwelling of Orla and Calmar.

When Swaran was bound, our sails rose on the blue waves. The winds gave our barks to Morven. The Bards raised the song.

« What form rises on the roar of clouds? whose dark ghost gleams on the red streams of tempests? his voice rolls on the thunder. 'Tis Orla, the brown chief of Oithona. He was unmatched in war. Peace to thy soul, Orla! thy fame will not perish. Nor thine, Calmar! Lovely wast thou, son of blue-eyed Mora; but not harmless was thy sword. It hangs in thy cave. The ghosts of Lochiin shriek around its steel. Hear thy praise, Calmar! it dwells on the voice of the mighty. Thy name shakes on the echoes of Morven. Then raise thy fair locks, son of Mora. Spread them on the arch of the

rainbow; and smile through the tears of the storm (1).

(1) I fear, Laing's late edition has completely overthrown every hope that Macpherson's Ossian might prove the Translation of a series of Poems, complete in themselves; but, while the imposture is discovered, the merit of the work remains undisputed, though not without faults, particularly, in some parts, turgid and bombastic diction. The present humble imitation will be pardoned by the admirers of the original, as an attempt, however inferior, which evinces an attachment to their favourite author.

CRITIQUE

EXTRACTED FROM

THE EDINBURG REVIEW, No. 22,

FOR JANUARY 1808.

Hours of Idleness, a Series of Poems, original and translated, By GEORGE GORDON, LORD BYRON, a Minor. 8vo. pp. 200.- Newark, 1807.

THE poesy of this young Lord belongs to the class which neither gods nor men are said to permit. Indeed, we do not recollect to have seen a quantity of verse with so few deviations in either direction from that exact standard. His effusions are spread over a dead flat, and can no more get above or below the level, than if they were so much stagnant water. As an extenuation of this offence, the noble author is peculiarly forward in pleading minority. We have it in the title-page, and on the very back of the volume; it follows his name like a favourite part of his style. Much stress is laid upon it in the preface, and the poems are connected with this general statement of his case, by particular dates, substantiating the age at which each was written. Now, the law upon the point of minority, we hold to be perfectly clear. It is a plea available only to the

defendant; no plaintiff can offer it as a supplementary ground of action. Thus, if any suit could be brought against Lord Byron, for the purpose of compelling him to put into court a certain quantity of poetry; and if judgment were given against him; it is highly probable that an exception would be taken, were he to deliver for poetry, the contents of this volume. To this he might plead minority; but as he now makes voluntary tender of the article, he has no right to sue, on that ground, for the price in good current praise, should the goods be unmarketable. This is our view of the law on the point, and we dare to say, so will it be ruled. Perhaps however, in reality, all that he tells us about his youth, is rather with a view to increase our wonder, than to soften our censures. He possibly means to say, 'See how a minor can write! This poem was actually composed by a young man of eighteen, and this by one of only sixteen! '-But, alas! we all remember the poetry of Cowley at ten, and Pope at twelve; and so far from hearing, with any degree of surprise, that very poor verses were written by a youth from his leaving school to his leaving college, inclusive, we really believe this to be the most common of all occurrences; that it happens in the life of nine men in ten who are educated in England; and that the tenth man writes better verse than Lord Byron.

His other plea of privilege, our author rather brings forward in order to wave it. He

certainly, however, does allude frequently to his family and ancestors-sometimes in poetry, sometimes in notes; and while giving up his claim on the score of rank, he takes care to remember us of Dr. Johnson's saying, that when a nobleman appears as an author, his merit should be handsomely acknowledged. In truth, it is this consideration only, that induces us to give Lord Byron's poems a place in our review, beside our desire to counsel him, that he do forthwith abandon poetry, and turn his talents, which are considerable, and his opportunities, which are great, to better account.

With this view, we must beg leave seriously to assure him, that the mere rhyming of the final syllable, even when accompanied by the presence of a certain number of feet; nay, although (which does not always happen) those feet should scan regularly, and have been all counted accurately upon the fingers, is not the whole art of poetry. We would entreat him to believe, that a certain portion of liveliness, somewhat of fancy, is necessary to constitute a poem; and that a poem in the present day, to be read, must contain at least one thought, either in a little degree different from the ideas of former writers, or differently expressed. We put it to his candour, whether there is any thing so deserving the name of poetry in verses like the following, written in 1806, and whether, if a youth of eighteen could say any thing so uninteresting to his ancestors, a youth of nineteen should publish it.

IV.