Why not preferably thus:

"Writhing in blood upon the plain

They lie, nor e'er shall rise again."

It was our intention to have given a similar abridgment, with specimens of the original text, of the tragedy of "The Wanderer of Jutland" (vol. I. p. 75), but want of space preventing the fulfilment of our purpose, we can only refer our readers to it, with the promise that it will well repay the perusal, by many passages of fine poetical composition and much eloquence of language. It is founded on a Danish ballad, and a play has been formed on it by Ingemann, called," Löveredderen, or the Lion Knight," in which he has adhered to the traditional story, judiciously departed from by Mr. Herbert, in order better to adapt it to the purpose of tragedy. It will be seen that the Wanderer, on whom the agency of the plot centres, was a character very difficult to pourtray; for, to give it effect, it was necessary to keep within certain defined lines, that would on one side prevent it being wildly and savagely unnatural and shocking, and on the other fantastic and ineffectual. The only defect, as it appears to us, in the plot, though a matter of no further importance than the advantage of adhering to nature and natural feelings, is the quiet and undisturbed manner in which Bertha the Queen receives from her husband the confession of his baseness and guilt towards the former object of his affections. Where we expected a scene of distress and reproach, she suddenly leaves the stage, saying, "Tarry not, my loved Lord," with no mark of diminished respect or attachment.

Among the shorter poems, one of the most spirited is the Prophecy of the Tajo, from the Spanish of Fray Luis de Leon, a poem, if we rightly recollect, that has also been translated by Russell, and more lately by the present Laureate. As a pleasing specimen of the lighter kind of poetry we shall give "The Waterfall, from Gesner."

"Is this the vale, whose shadowy wood
Breathed o'er my bosom strange delight?
Is this the rock, whose sparkling flood

Plunged lightly from the wood-crown'd height?

Lo! where the foaming stream from high
Dash'd on its mossy couch below,

A frozen column meets my eye,
Suspended from the beetling brow.

How bare, how naked, frowns the glade;
Where late in thick o'er-arching bow'rs
Soft Zephyrs thro' the foliage stray'd,
And gently waved the scented flowers.
Where late the glancing sunbeams play'd
On the bright waves and mossy bed;
Or gleam'd along the checker'd shade,
Which leafless now o'erhangs my head.
Soon, soon, sweet Spring will warm the sky,
And deck the groves with livelier hue,
Awake each floweret's sparkling eye,
And melt the frost with genial dew.

O then receive me in your shade,
Ye rocks that crown the valleys deep,
Ye woods, that deck this watery glade,
And wave beneath the rocky steep

No cares shall here my bosom pain;
No fearful thoughts my heart alarm;
From hill, from grove, and flowery plain,
Shall sweetly steal a soothing charm.
And wherefore envy those that shine,
And bask in fortune's transient beam?
While with my flask of jovial wine

I lay me by the rippling stream.

While sweet success may crown my lays
Amid these cool delicious bow'rs;

And future ages learn to praise

The pastime of my harmless hours.

The English poems are followed by a sonnet in Spanish, and by an Italian canzone and sonnets. These are succeeded by some poems taken from those printed by Mr. Herbert in his edition of the Muse Etonenses.* The Greek contains a translation into hexameter of sonnets of Ossian, and into Swabian of the Witch Scene in Macbeth (Act. iv. sc. 1), followed by other specimens. The Latin contains the " Rhenus," the poem which gained the prize at Oxford in 1797, and others, written for the most part with classical elegance and correctness. As a short specimen of the Greek Translations we will give the one of Collins's beautiful ode, "How sleep the brave," &c.t

σε Ολβιος ηρώων θάνατος, τοὺς κοίμισε μοῖρα
Πατρίδος ἱμερτοῖς εὔχεσι θαλπομένους.
Ιροῦ ὑπὲρ τύμβου, ὡς νίσσεται ἄνθιμος ὥρη,
Αμβροσίους χεύει λευκὸν ἔαρ στεφάνους,
*Ανθεά τε δροσόεντ' ἀναθρέχοι· οἷά γ' ἐραννὸς
Οὔποτε μουσάων κῆπος ἐπεσκίασεν.
Αέριαι γλυκεροῖσι πέριξ ψιθυρίσμασι φωναὶ
Μέλπουσιν θρήνων ᾄσματα θεσπεσίων.
Πολλάκι δὴ πολιαῖς χαιτῇσιν πότνια Τιμὴ
Εὐκλειῆ σέβεται γαῖαν ἐπερχομένη

Καὶ γοερῶς λείβουσα χλοηρῶ δάκρυα τύμβῳ
Οἰκήσει τέμενος σεμνὸν Ἐλευθερία."

The second volume consists of reflective works in prose, or, as he calls it, "Hora Pedentus." These may be divided into Critical Dissertations

*Mr. Herbert edited the Musa Etonenses in 1795, 2 vol. 8vo. An earlier work of the same kind, containing verses by Gray and J. Bryant, &c. was printed in 1755. In our copy of this latter work we have the names of all the authors of the different poems from a MS. of Bryant's work; the friend so dear to Gray was the author of three.

In the present re-publication of Mr. Herbert's poems, and in the Selection he has now made from those printed by him in 1804, we must lament to see omitted a poem that we always admired for its spirit and lyrical energy and liveliness, we mean that called "The Peace of Amiens," beginning" Our arms have thundered," &c. See Poems, part ii. p. 70. This was a favourite with the late Reginald Heber, whom we have often in our walks heard repeat it, as well as "The Song of Thrym,” (vol. I. p. 1), which he had by heart. His favourite stanza in the former poem was,

But the Pilot all fearful,

With eyes sad and tearful,

Has struck on the shallows, avoiding the tide ;

And the waters quick rising,

Her glories despising,

Will loose all her timbers, and break on her side, &c.

It is necessary, now, perhaps, at a distance of forty years, to say to the new generation that the Pilot was Mr. Addington.