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him, and two pages after he is represented as supposing he might conceal his villany from him.

It is true, that these and other faults of the same kind betray a wildness of imagination, which too full of its subject, disdaining every species of constraint-but it is equally true, that they render the perusał of the book a perfect task, and deduct much from the merit of originality which the production before us really must be allowed to possess. And though we are willing to give to Mr. Thruston every credit for the inges nuity and erudition which he has displayed, yet we should recommend him in good earnest to revise the book with accuracy, and adopt quite a different mode of arrangement. Whenever we may be inclined to engraft upon any part of the Scriptures, an explanation different from that which has been generally received, the first duty of an expositor is to adopt both method and perspicuity. If a reader is to puzzle his brains to find out the meaning of the exposition, he may as well be satisfied with the commentaries of ancient and approved expositors.

If in an exposition of the Scriptures a point of taste could for a moment be admitted, we should

be disposed to enter our protest against the opinion of Mr. Thruston, that the interest excited by this portion of Scripture would be considerably diminished, were we to diminish the prediction of our Lord and the fall of the Apostle to a single denial. As far as relates to the prediction of our Lord, we must confess one simple forewarning to give us a more awful idea of his prophetic than a repeated prediction of what was at last but a private event, and which, though furnishing á most striking admonition to the Christian of every age, related but to an individual. That Peter should at three several times solemnly deny his Lord, under the pressing circumstances of each occasion, is perfectly probable ; but that he should six times deny him argues rather apostacy through inclination, thani apostacy through fear. It was not the love, but the courage of Peter which was to undergo so severe

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Whoever shall be tempted to read the volume before us will be convinced that Mr. Thruston possesses a vivid and a powerful imagination united with no small insight into human nature. The doctrines which he labours to establish by his new mode of interpretations are sound and good; but from the same principles of exposition applied in other cases, the most unwarrantable and fatal errors might also result. Originality is but a very questionable qualification in an interpreter of Scripture, truth is an essential. When therefore we think that we have discovered any new sense in an important passage of Scripture, so far from being primâ fucie enraptured with our ingenuity, we should be




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inclined rather to distrust our judgment; and instead of running wild upon ani hypothesis, however novel and ingenious, it would rather become us to submit to the severest scrutiny of calıni and dispassionate research.

We trust that Mr. Thruston will not be discouraged in the prosecution of his labours; he has both piety and genius, but he has yet to learn precision in statement, accuracy in deduction, and sobriety in reasoning. There is much intricacy to unravel, and many excrescences to reduce. Would he be a suce cessful commentator upon Holy Writ, he must rein in his ima. gination, and ever apply to himself the advice represented to have been given to him who would direct the horses of the Sung

Parce puer stimulis, et fortius utere loris.

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ART. VI. Charlemagne. An Epic Poem. By Lucien Buonaparte. Translated by the Rev. S. Butler, D.D. and the Rev. F. Hodgson, A.M. 2 Vols. 4to. Longman, and Co.

1815. HAVING considered the history, the machinery, and the struca ture of this extraordinary Poem so much at length in our last number, we shall now proceed to view it divested of its original garb, and presented to us under the form of an English translation. The gentlemeri who have undertaken this task, stand deservedly high in the estimation of the literary world: Dr. Butler, the editor of Æschylus, as a powerful and distinguished scholar, and Mr. Hodgson, the translator of Juvenal, as a clase sical and an animated poet. We consider Lucien peculiarly fortunate it being enabled to submit his Poem to the hands of such translators, wlio cannot fail to add lustre, even where they found it nat, and to attract the attention of the public to a Poein, which would otherwise have had very little interest in the eyes of the English reader.

The first six Cantos were placed by Dr. Butler in the hands of the Rev. Joha Maunde, by whom it was originally intended that the whole work should have been translated ; before hower ever he had completed even these, lie feli a viction to a lingering and a hopeless disease. He died, leaving them incomplete : Dr. Butler however froin the imperfect state of Mr. Mainde's translation, and the perpetual alterations made by the author in the original Poem, was forced to undertake the laborious task of

VOL. IV. JULY, 1815.

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new casting nearly the whole of the six Cantós, so that not a twentieth part of Mr. Maunde's composition remains. In addition to these Dr. Butler took the 7th, 8th, 15th, 16th, 18th, and 19th, as his moiety of the work; the remainder was entrusted to Mr. Hodgson.

We shall now proceed to give a general outline of the events, and the conduct of the Poem, as it appears in the English garb, selecting such parts, as will in our opinion reflect the greatest credit upon the translators. We shall not repeat the criticisms upon its structure, which we gave in our last number, but shall leave it to our readers to apply them, as we advance in our outer line of the history and the details.

The Poem opens with the union of the Lombards with Didiei" their king, and the Iconoclast Greeks under the walls of Spoleto. Longin the Ambassador of Constantine Porphyrogenetes assures the Lombard monarch of his master's zeal in their cause, while Rodmir, the disappointed lover of Armelia, now wedded to Charlemagne, urges the immediate advance of the allied host to the very gates of Rome. While the crafty Didier pauses, the bands of Longin take Spoleto by storm, and murders its venerable prelate at the foot of the altar, while he defends the image of his Saviour. The Latins are warned by a voice from heaven to betake themselves and not their wives and childreny but their images to Rome. This introduces a description of the Church of St. Peter, and the sacred tapestries, with the ceremony of pouring ashes on the Pontiff's head. We are next transported to Paradise, where the Virgin Mary offers a prayer to the Almighty for the success of the Church against the Lom, bards.

" In idle songs Apollo's sons have praised
The Gods fantastic, which their hands have raised ;
Have traced the sable brow, beneath whose nød
The poles are shaken: but Jehovah, God,
"To saints alone his face divine displays,
Too dazzling bright for man's enfeebled gaže.
What do I say? a fire celestial cheers
My renovated voice, and God appears !
God even to me descending from his might,
Beneath a mortal symbol strikes my sight!

Type of the Trinity, and God alone,
Sudden a flaming triangle is shown,
Which, glittering like the star, whose piercing light
Breaks through the blackness of the gloomy night,
Rests on a cloud of gold! before its fires,
All pallid grown, the beam of Heaven retires :

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In one sole essence joined, and yet apart,
Three rays united their effulgence dart
From that bright triangle: the heavenly blaze,
Reflected, round the Virgin-mother plays :
Inspired with sacred love, with dazzled eye,
In silence deep the prostrate angels lie.

" The Godhead speaks ; and Heaven's remotest bound
Hath heard his voice, and vibrates to the sound:


AGAINST THE CHURCH THE GATES OF HELL SHALL FAIL." His voice the sadness of the sky dispels, And wide in Heaven the hymn of triumph swells. Hope animates the pontiff's breast anew, He rises, and the astonished people view Celestial fires in dazzling lustre gleam

Shot from his triple crown, with triple beam.” Vol. I. P. 38. The second Canto introduces us to Paris, and the field of May: Egbert the future monarch of England, Alphonso of As.: turia, and Monclar of Narbonne receive their knighthood from Charlemagne. Roland (the Orlando of Ariosto) in his phrenzy, pours out an invective against the king for having forsaken Adelinda his former wife, and having taken Armelia the daughter of Didier to his arms. Though restrained from further violence by his friend Oliver, his accents penetrate the conscience of the guilty monarch.

The third Canto comes in again to Heaven, and opens with the hymn of the Blessed to the Virgin. The twelve disciples now pass before our view, and Peter unfolds to the heavenly hosts the events which are to take place in the present struggle. Elias is dispatched to Mount Cassin, a farnous monastery in the kingdom of Naples, to whose cloisters several princes of the seventh and eighth centuries retired.

XIX. “ Hail, regal cloisters! Lail, retired abode! Where empty grandeur drops its weary load: Ye marbles, bail! where earthly kings were known With frequent knee to press the sacred stone: The stormy gusts that rend the human breast, At sight of you are hushed to peaceful rest: The weak, the mighty, in his hallowed seat, A refuge sure, an equal welcome meet : Here Drogon, Carloman, from care repose, And Rachis' age in tranquil tenor flows: Within your walls, with eye impartial seen, Monarchs by you are levelled with the mean." Vol. I. P. 80.

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This and the following stanza do credit to the pen of Dr.

« Now o’er the world as spread the veil of night,
Lost were the beetling Apennines to sight;
The bell had sounded forth the hour of sleep,
And all the cloister lay in silence deep:
No foot the temple trod: a glimmering flame,
That through the ambient darkness feebly came,
Shot through the dusky aisles its quivering ray,
Where shrouded bones of many a martyr lay:
The golden lamp, with solitary gleam,

Still through the shade prolonged its dying beam.” Vol.I.P.87. Elias now appears to Adeland the abbot of the convent, who is commanded to repair to Charlemagne for the purpose of secalling him to his duty, and the recluse is wafted ihrough the air, to the tomb of Martel and Pepin iri a sacred isle, formed by two arms of the Seine. At the beginning of the fourth Canto we find the monarch

* Weighed down by pensive melancholy's force,
A mingled thought of love and of remorse
Draws him, unconscious, to the dismal shade,
Where, in their tombs, his princely sires are laid:
Reckless he trod the lonely fields: his breast,
In bursting sighs, his restless pain confessed:
The stings of sorrow, edged with bitterest smart,
Struck through his anguished soul their keenest datta
Some secret power his wandering footsteps led
To the lone mansions of the mighty dead."

Vol. I. P. 97. The abbot succeeds in his heavenly mission, and recalls the monarch to a sense of his duty tuwards the Church. As he retires from the sacred island, he is arrested by the sounds of a fray arising between Eginland, who had alone met the recreant knights urged by Armelia to destroy Roland. Gannelon their leader falls by his hands, and in his dying speech confesses to Charlemagne, that by his artifices he had been estranged from Adelinda, and had been induced to wed Armelia. As he returns he is met by Emma, his daughter by Adelinda, who by her beauty and resemblance to her mother, in a still stronger degree confirms his resolution.

Armelia now exerts all her influence over Charles, to induce him to relinquish his intention of recalling Adelinda to his arms, but in vain : Charles continues fixed in his determination; and Armelia by night flies from the walls of Paris. The cloister of Adelinda is next presented to our view, from whence she is led amidst the shout of universal applause, to the palace of her

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