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1844.]

is certainly an age of very merciful tendencies. The severity of the criminal laws has been greatly abated; and, in conformity with the views of the legislature, we have, of late years, been gradually relaxing the stringency of our critical code. Yet we question whether the change has been productive of good, and whether the result can be said to have answered the expectations either of government or of ourselves. We doubt whether crime has diminished in consequence of the legislative clemency; and, in our own humble department, we are now convinced that the mild method is not the best way of bringing singers to repentance. The experiment has been fairly tried, and the numerous trashy publications put forth by the young writers of the day, particularly in the poetical line, convince us that our mercy has been misplaced; and that a little well-timed severity, and a few examples held up in terrorem, might have greatly benefited the literary wellbeing of England. The “spirit of the age” might have been different from what it is, if the just sentence of the law had been more frequently carried into effect. Our timely strictures might not have kindled into song any masculine intellect, but they might have prevented the temple of the Muses from being desecrated. They might have prevented the appearance of such a publication as this. In the days of the knout, we believe that no such volume as Mr Coventry Patmore’s could have ventured to crawl out of manuscript into print. While we admit, then, that we have to blame our own forbearance in some degree for its appearance, we think it our duty to take this opportunity of amending our code of criticism, and shall try the volume simply as it stands, and somewhat according to the good old principles of literary jurisprudence.

We are further instigated to this act of duty by the laudatory terms in which the volume has been hailed by certain contemporary journalists. Had Mr Patmore’s injudicious friends not thought proper to announce him to the world as the brightest rising star in the poetical firmament of Young England, we would probably have allowed his effusions to die of their own utter insignificance. But since they have acted as they have done, we too must be permitted to express our opinion of their merits; and our deliberate judgment is, that the weakest inanity ever perpetrated in rhyme by the vilest poetaster of any former generation, becomes masculine verse when contrasted with the nauseous pulings of Mr Patmore’s muse. Indeed, we question whether the strains of any poetaster can be considered vile, when brought into comparison with this gentleman’s verses. His silly and conceited rhapsodies rather make us sigh for the good old times when all poetry, below the very highest, was made up of artifice and conventionalism; when all poets, except the very greatest, spoke a hereditary dialect of their own, which nobody else interfered with—counted on their fingers every line they penned, and knew no inspiration except that which they imbibed from Byssh’s rhyming dictionary. True that there was then no life or spirit in the poetical vocabulary—true that there was no nature in the delineations of our minor poets; but better far was such language than the slip-slop vulgarities of the present rhymester—better far that there should be no nature in poetry, than such nature as Mr Patmore has exhibited for the entertainment of his readers.

The first poem in the volume, entitled “The River,” is a tale of disappointed love, terminating in the suicide of the lover. Poor and pointless as this performance is, it is by far the best in the book. As Mr Patmore advances, there is a marked increase of silliness and affectation in his effusions, which shows how sedulously he has cultivated the art of sinking in poetry; and that the same adage which