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124 the publication of Philip Van Artevelde at once placed Mr. Taylor in the second rank of English poets, a high meed of glory, when we remember who compose the first, we seldom now hear the poem mentioned, or a line quoted from it, though it is a work which might, from all considerations, well make a part of habitual reading, and habitual thought. Mr. Taylor has since published another dramatic poem, “Edwin the Fair,” whose excellencies, though considerable, are not of the same commanding character with those of its predecessor. He was less fortunate in his subject. There is no great and noble figure in the foreground on which to concentrate the interest, from which to distribute the lights. Neither is the spirit of an era seized with the same power. The figures are modern English under Saxon names, and affect us like a Boston face, tricked out in the appurtenances of Goethe’s Faust. Such a character as Dunstan’s should be subordinated in a drama; its interest is that of intellectual analysis, mere feelings it revolts. The main character of the piece should attract the feelings, and we should be led to analysis, to understand, not to excuse its life.

There are, however, fine passages, as profound, refined, and expressed with the same unstrained force and purity, as those in Philip Van Artevelde.

Athelwold, another of the tragedies at the head of this notice, takes up some of the same characters a few years later. Without poetic depth, or boldness of conception, it yet boasts many beauties from the free talent, and noble feelings of the author. Athelwold is the best sketch in it, and the chief interest consists in his obstinate rejection of Elfrida, whose tardy penitence could no way cancel the wrong, her baseness of nature did his faith. This is worked up with the more art, that there is justice in her plea, but love, shocked from its infinity, could not stop short of despair. Here deep feeling rises to poetry.