eloquence. He was a native of Damascus, and being early celebrated for his learning, was appointed secretary to the Saracen prince of that city. He is still well known among the Arabian writers under the name of "Mansur." Having been unjustly accused of treason, his hand was cut off by way of penalty; but after he suffered, his innocence was established. He then retired from the world to the monastery of Sabas, where he spent the remainder of his life in writing the various and excellent works which still bear his name. He is allowed to be the clearest expounder of the faith of the church as it thenprevailed throughout the Christian world, amongst all those who had before or since treated that important subject: and no person who wishes to become acquainted with that faith need go beyond his works for information. We learn from his writings that many strange heresies existed in his time. Some of these sects danced during the worship! Some despised all learning as injurious to Christians! There were others who venerated the sun-flower as a plant endowed with a divine energy, capable of turning the soul to the sun of righteousness! Others held that the Redeemer, when he descended into hell, left there his body and soul, and ascended to heaven with his divinity only! Among the rest there was a congregation of persons who called themselves Lampetians, and whose doctrine consisted of doing just what they liked; they acknowledged no prohibitory rules whatever.

We may mention as a literary curiosity, a work in praise of the Holy Cross, written by Rabanus Maurus, one of the few lights which illuminated the ninth century. The following is Dupin's description of this fanciful production:

"The body of the Work is composed of Letters, divided from one another, and ranged over against one another in lines. In reading from the right hand to the left, every line contains an Hexameter verse. These Letters, thus ranged in lines, make a sort of a Draught or Platform, on which there are Figures or Symbols of the Cross painted: the Letters enclosed in these make also verses which have some relation to the Figure. There are twenty-eight Figures in twenty-eight Tables; the verses are copied entire afterwards at the end of every table, and the mystery explained in prose. The first Table contains the Image of Christ extending his arms in the form of a Cross: the forty-seven verses, read longways from the right hand to the left, shew the several names that have been given to Christ in the Old and New Testaments. The Letters comprised in the Draught of the Figure compose other verses: as for example, those that meet in the Crown about his head, read round, make exactly these words, -Rex regum, Dominus dominantium. In the other Tables he represents many different things upon the Cross, as the Angels, the Virtues, the Elements, Cyphers, Mystical Numbers, Gifts of the Holy Ghost, the Beatitudes, Books of Moses, Names of Adam, Allelujah, Amen, &c.——In the last he represents a Cross, at the foot of which is painted a Monk worshipping it, and in it these words,-Rabanum memet clemens rogo, Christe tuere, O Pie, judicio.--This first book is explained by a second, which contains twenty-eight chapters in prose."'-pp. 513, 514.

VOL. 1. (1832) No. III.

LL

As we descend the stream of years, the notices of the different authors whose names appear in succession are scanty, and often bear the marks of haste. Many of them are contained in a line or two, being nothing more than what may be found in the biographical dictionaries. Amongst those of whom more ample details are given, the name of St. Bernard shines out with a brilliant lustre. He is called the last of the Fathers of the Church, and was born in the year 1091, at Fontaine, a village in Burgundy. Such was his influence over his mother, his five brothers and one sister, that he persuaded them, together with several other persons, to retire with him to the monastery of Cisteaux, which thus grew into a flourishing condition. He afterwards assisted in founding other monasteries, the most distinguished of which was that of Clairvaux, of which he was made abbot. His learning and talents, however, became known all over Europe, and he was frequently summoned to the councils of kings and of the church. He was the successful opponent of the heretical doctrines maintained by the celebrated Abelard. He also preached the crusade which was undertaken by Lewis the consequences of his zeal upon this subject are recorded in history. His works are not very numerous, but they are in high estimation.

The reader will be disappointed by the very imperfect notice which the author has given of an ecclesiastical writer, whose works are well known to theologians--we mean Thomas Aquinas. Of this distinguished individual, whose doctrines have formed a peculiar school in the church, we are only told that he was a descendant of the kings of Sicily and Arragon, and born in the year 1224; that after passing honourably through his course of education in Naples, he privately assumed the Dominican habit, which his mother spared no pains to induce him to put off, and even seized and confined him on his journey to Paris, whither his society had sent him; but that neither the prayers nor tears of his mother or his brothers could avail, and that, after two years' imprisonment, he escaped through the window and fled to Naples, and thence to Rome. He subsequently went to Paris, where he became celebrated for his learning, and finally settled in Naples. He died in the monastery of Fossa Nova, in the 50th year of his age, the universally acknowledged light and ornament of his time. His works are published in eighteen folio volumes.

The author, deviating in this instance from the plan announced in his title page, gives an account of a very curious manuscript, containing a work by Johannes Brando, a native of Flanders, who died in the year 1428. This work is represented to be a continuous and well connected chain, bringing down the whole history of the known world, from the creation to the beginning of the fifteenth century; forming not only a chronological succession of events, but also of authors and their works, both profane and sacred, ecclesiastical and civil, through the long lapse of 5835 years.' The

learned reader will be gratified by the details which are given of this manuscript.

It is splendidly bound in pale Russia by one of the first workmen ; and is the finest MS. I have ever seen, either in public or private Libraries: the Writing is a beautiful Gothic, and is perfect in its kind and all Dates, Eras, &c., beautifully distinguished by a very bright red and blue.

The first volume is composed of smaller skins of Vellum than the others, stands eighteen inches high, and is thirteen inches broad. The second and third volumes stand twenty-one inches high, and are fourteen inches broad.

Whether the Vellum, which is white, beautiful, and even ;-the Writing, in which neither the hand of the Writer nor the Pen ever seems to fall off or change;-or the Correctness, which appears to be without error; -or the Binding-be considered, the MS. is of unequalled splendor: and only two others are known to exist.

The first page of each volume is highly ornamented with fine broad Borders, and elegantly finished Miniatures, viz.—

'In the first volume there is a fine Portrait of the Author, Brando, sitting at his desk writing. At the bottom of the leaf, a Bishop is represented baptizing three persons in one vessel. The Borders of this page are filled with Birds, Flowers, and Arabesques.-Pages 540.

In the second volume the Author, Brando, is again introduced, mending his pen. His chair, writing-desk, &c., are very characteristic and curious. There is a label near him on which are written the words Equo animo. The Borders or margins are full of Flowers and Insects, highly finished. On the verso of this leaf there is a well executed miniature, representing the Nativity. The figures of Joseph, Mary, three Shepherds, three Angels, Jerusalem in the distance, the Ass and Ox in the Stable, with the new born Babe lying on a pallet, are all well arranged, and very expressive; the broad Border charged with Flowers in colours and gold as before.-Pages 480.

'In the third volume there is another miniature of Brando, apparently when old, with a care-worn cheek, in the act of mending his Pen. Below, there is a whole length of the Emperor Charlemagne, in his imperial purple robes, an. regni 30, a drawn sword in his right hand, and a globe surmounted with a cross in his left. The Border round the page, charged with well finished Flowers and Arabesques, with the Arms of the Monastery.— Pages 440.

'At the end of the first volume are these words in rubric:

Laus Christo detur, Qui finis hujus habetur.

At the end of the second volume is the following Colophron in rubric:

Explicit hic Liber; Scriptor sit crimine liber.

Laus Christo detur, Qui finis hujus habetur.

The third volume ends abruptly, with the transactions of A. D. 1414, as if the writer had intended to proceed.'-pp. 768,769.

The author needed hardly to have informed us, that it was no part of his design that his view of the succession of sacred literature should supersede the study of the Fathers. It is too imperfect, in every point of view, to satisfy even the most superficial student, whose business it is to make himself acquainted with the doctrines

of those great authorities. As an index to their works, and as a connected chronological view of their labours, it is, however partial and sectarian it may occasionally be, a very valuable performance, and as such we cannot but recommend it to the public attention.

ART. IV.-Poems by William Cullen Bryant, an American. Edited by Washington Irving. 8vo. pp. 235. London: Andrews. 1832. THE pervading fault of all the American verses that we have ever seen, is the extreme scantiness of their imagery, the want of original and vigorous thought, and of musical rhythm. They have always appeared to us to be rather the echo of poetry than poetry itself. They have been for the most part conversant with such ideas, as we might imagine to be constantly passing and repassing through the mind of a recluse, who seldom stirs beyond the precincts of his cell. They seldom reflect the feelings of busy life, or even the domestic affections with any degree of energy. have, it is true, amongst them many allusions to the happiness of home, and the endearing connexions which sweeten and exalt the toils of life; but we find in them no passion, no strains that touch

the soul.

We

It must be admitted that the range of American genius-that is to say of genius which would be ambitious of producing verses strictly American-is limited within a circle which is destitute of some of the most essential elements of poetry. It is, for instance, without the associations of antiquity. It has no crusades, no minstrels, no romance, no chivalry, no mythology, no heraldry, no Greek isles, no Italy, no Spain, no national religion, games, dances, nor music-no national character. It has no ivy-mantled towers, no feudal castles, no convents, no tradition, no legendary lore. Whatever is worth relating in the career of the republic is preserved within the confines of history; and history is to the imagination what special pleading is to oratory-it clips the wings of the bird that might have soared to heaven, and reduces him to a state of domesticity which, however amiable, is inconsistent with freedom and power and sublimity. desiro

The American poet, supposing him always ether us of establishing an indigenous poetical literature, is altog precluded from availing himself of classical associations. Only think of a writer representing Jupiter as paying a visit to Bunker's-hill! or Cupid playing among the groves of Connecticut! or Zephyr breathing over Skenectady! The attempt to unite ideas so discordant would be so ludicrous, that, unless it were veiled in the shape of a burlesque poem, it would consign the name of the author to immortal ridicule. As long as poetry shall be written in the world, in whatever nation and whatever language, it will ever be judged of in association with that of Greece and Italy. It must savour of the beautiful imagery, the elevation of thought, the harmony of ex

pression, which mark the divine productions of those celebrated regions. The poetry of the east, the sublime and soul-stirring poetry even of the Sacred Writings, have never been engrafted on the genius of Europe, and never will be. Homer and Virgil, and the other great masters of their art in their respective countries, have given a tone to poetical literature, which never can be separated from it until some genius shall be born superior to both. But that tone has nothing in common with the indigenous writings of America, and hence it is that they have hitherto been and must of necessity continue to be, of an apocryphal character.

Mr. Irving is of opinion that the verses which he has edited in the volume now before us, belong to the best school of English poetry, and are entitled to rank among the highest of their class! Had that gentleman not been an American, it is quite impossible that with his excellent taste, and his undoubted acquaintance with the poetical treasures of this country, he could have sincerely entertained any such opinion. We altogether dissent from it. Much as we respect the talents of Mr. Bryant, we cannot acknowledge any affinity between his verses and those of Milton, Dryden, Pope, or Gray, for these we believe may be looked upon as the masters or disciples of our best school of poetry.

Some of the American critics think that Dana is superior to Bryant. We have seen very few of the productions of the former writer, but if they contain many stanzas equal in merit to the following ones, we should be much disposed to subscribe to a similar judgment.

The highest praise, however, claimed for Dana by his greatest admirers, is, that he is a religious poet; that his aspirations breathe forth earnest desires after holiness, and a land of rest. Without disputing the proposition, that the highest and noblest theme which poetry can select is religion, we may still be permitted to doubt whether it is a theme upon which poetical powers can display themselves to the greatest advantage. Religion is most appropriately treated when it is impressed upon our minds as the most sacred of all duties, the most valuable of all blessings, the only true source of hope here and hereafter. Poetry is however addressed to a different class of ideas and feelings; the creature of the imagination, not of revelation; and to make it the vehicle of religion may sometimes turn out to be a dangerous experiment.