who though consistent in point of time and history, relates events still more incredible and absurd, and at any rate equally wonderful. But in the first place we humbly conceive that absurdities can never establish a precedent of taste, however they may do so in point of authority; and in the second place it is to be observed, that all the absurdities which disgrace the Gerusalemme, arise from the general belief, which at that time all the nations of Europe had in the science of magic. When, indeed, our laws condemned both men and wonen to the flames for enchantment and witchcraft, and when these laws were not uncommonly executed, can it be wondered that an actual and firm belief should exist in the powers of magical illusion. If then such was the credulity and ignorance of the people, the magistrates, and the clergy of Europe, we must excuse the poet for having granted to his magicians all the high power which universal belief considered them as possessed of. But in Charlemagne all these wonderful events happen as a matter of course. There is no magician, no witch, that can furnish the poet with an excuse; there is no enchantment that can heat the imagination of the reader, and pave the way even to the credit of romance. The reader may now, perhaps, expect that we should say something concerning the brilliant passages of the poem ; and sorry we are of not having it in our power to gratify his curiosity so much as he might have expected, and we should have wished. Our poet does not much deal in sublimity; and the few touches of that species, which are met with in the poem, are so short and so few, that they can hardly awake the reader from the deep somnolency, which, in spite of all his efforts, will creep on him at the perusal of this ponderous work. The following, however, may be considered as the best specimens of our author's genius, The Chiusa by which he ends the portrait of Attila is certainly grand, though it consists of one line. XLV. Ce farouche vainqueur, le fléau de la terre, Portent de tous côtés la mort et le ravage; A livré pour un temps l'univers à sa rage... ... Mortels, consolez-vous; il brave l'Eternel." Vol. I. P. 25. The wish of alliance between England and France is rather pretty; but at this time it is far too problematical. V. "Comme au temps de ces rois, Puisse la paix unir les rives de la France Aux rives d'Albion fille altière des mers! Rappelons par nos vœux cette heureuse alliance Qui peut seule calmer les maux de l'univers." Vol. I. P. 45. Of the same species is the description of the duties of a bishop, in the character of Vilfrid, XX. "De Spolète Vilfrid tenait alors le siége, Dont l'horreur ne se calme aux accents de sa voix ; Sur eux le saint vieillard répandait à la fois Et les trésors du Ciel et les biens de la terre." Vol. I. P. 13, The vicissitudes and interested adulation of the courtier, are strongly depicted in the following lines: XXXV. "Un moment change tout dans le palais des rois, L'adulateur servile imite la fortune : A peine abandonnait les superbes remparts, D'Adelinde et d'Emma proclamer la victoire" Vol. I.P.138. The emptiness of grandeur, and the necessity imposed on the great, by the burthen and solemnity of state, is very feelingly detailed, and the poet most pointedly alludes to some events of the same species which have happened in his own family. XIII. Adalgise a perdu sa dernière espérance : Et la raison d'état tyrannisent notre âme ; XIV. "J'ai passé mon enfance à la cour de Pépin; 'Aux détestables grecs nous a rejoints : soudain Tout a changé : les francs, et Giselle, et son frère 'Ne sont plus rien pour moi.... que dis-je? au lieu d'hymen, Il n'est plus entre nous que la haine et la guerre." Vol.I.p.181. The description of the despair by which the wives of the Huns defend themselves, is not without its merit. XXXVI. "Les femmes sur les chars s'élancent à leur place. Dans leur sein, par degrès, succède à la terreur. D'Irmensul autrefois A la cour de son père elle fut la prêtresse : XXXVII. "Sa longue chevelure abandonnée aux vents, Et couvrent les vainqueurs d'un nuage de traits." Vol.II.P.121. The death of Theudon would have been perfect, were it not for a few verses here and there, which in great measure spoil the effect. XXXIX. "A ces mots, comme un trait Charles s'est élancé, Il pousse jusqu'au centre, où, d'un œil courroucé, Du héros téméraire, Pour frapper à coup sûr, semblait chercher le sein. Charle Charle écarte la pointe ; et sa puissante main XL. "Le dard touche à son but: sur la triple cuirasse Rabaisse sur le roi cette arme meurtrière. "Le héros attentif, reserrant son rival, La mort répand déjà sa livide pâleur: Il chancelle un moment, la main sur sa blessure; The poem, as it may be expected, contains many allusions to the man who for so many years has been the admiration and the Scourge of mankind. The bees embroidered in gold on his imperial mantle may be traced. "Dans le centre d'élève un pavillon brillant The celebrated motto of Grenadiers suivez votre General which gave to him the memorable victory at the bridge of Lodi, is equally recorded in the episode of Monclar : "Le héros irrité de tant de resistance Vers Narbone, s'élance En s'écriant: Français, Français, suivez mes pas. An allusion to Josephine may be traced in this portrait of Adelinde, the first and divorced wife of Charles. "Adelinde, jadis l'objet de nos amours, Remplissant tous les jours, Par des bienfaits nombreux par des vertus chretiennes. The The excuse of Charles for marrying Armélie, after having divorced Adelinde, is not without application. Ses vertu ses exploits, et ses nobles travaux And again, "Paris est embelli par les mains paternelles; Les lettres de son peuple adoucissent les mœurs." We know not whether the following stanza may not have its allusion: XXVI. "Ainsi, vaillant guerrier, dans les jours de combats Tremble devant le fer dont s'est armé ton bras. D'où les avaient tirés les vices de la paix: Et te proclame encor l'enfant de la victoire." Vol. II. P. 40. Besides there are many other pássages which seem to imply a parallel. Charles rewarding Tsolier on the field of battle; the rapidity of his marches; the description of his great qualities as a general; and many more touches of the same species, all seem to imply an allusion, which becomes still more striking. As in the 9th canto our poet strongly inveighs against ambition, and speaks very freely against conquerors, and against all those who have interfered with the rights of the see of Rome, whom he places all in hell without the least mercy. In passing our judgment upon the merits of the poem before us, we shall declare without hesitation, that it is the work of a mind cast in no common mould. We have consulted its dignity by comparing it in various points of view with the noblest productions of the Italian Muse, and by examining its construction according to the strict rules of epic poetry. However unfavourable the result may have been, we do not consider that our labour has been expended in vain. It is worthy of that severity of criticism, which could scarcely have been applied to any other poetical production of the age: it has substance enough to bear the weight of the justest censure, and is, perhaps, better able to support its condemnation, than many others can sustain their honours. Among the few, the very few, who fill the foremost rank of poetry and genius, it can never stand; but among those who stand second |