melancholy fact, which is true of all sequels, from the continuation of the Eneid, by one of the famous Italian poets of the middle ages, down to "Polly, a sequel to the Beggar's Opera," that "more last words" may generally be spared, without any great detriment to the world. — -BISHOP HEBER. Lara has some charms which the Corsair has not. It is more domestic ; it calls forth more sympathies with polished society; it is more intellectual, but much less passionate, less vigorous, and less brilliant; it is sometimes even languid, -at any rate, it is more diffuse. SIR E. BRYDGES. Lara, obviously the sequel of "The Corsair," maintains in general the same tone of deep interest, and lofty feeling;-though the disappearance of Medora from the scene deprives it of the enchanting sweetness by which its terrors are there redeemed, and makes the hero, on the whole, less captivating. The character of Lara, too, is rather too laboriously finished *, and his nocturnal encounter with the apparition is worked up too ostentatiously. There is infinite beauty in the sketch of the dark Page, and in many of the moral or general reflections which are interspersed with the narrative. JEFFREY.] *["What do the Reviewers mean by elaborate?' Lara I wrote while undressing, after coming home from balls and masquerades, in the year of revelry, 1814." B. Letters, 1822.] HEBREW MELODIES. (') (1) [Lord Byron never alludes to his share in these Melodies with complacency. Mr. Moore having, on one occasion, rallied him a little on the manner in which some of them had been set to music,-“Sunburr Nathan," he exclaims, "why do you always twit me with his Ebrew nasalities? Have I not told you it was all Kinnaird's doing, and my own exquisite facility of temper?"-E] |