We cordially admit that it was right and proper that a life of Campbell should be written. Although he did not occupy the same commanding position as others of his renowned contemporaries--although his writings have not, like those of Scott, Byron, and Southey, contributed powerfully to give a tone and idiosyncrasy to the general literature of the age--Campbell was nevertheless a man of rich genius, and a poet of remarkable accomplishment. It would not be easy to select, from the works of any other writer of our time, so many brilliant and polished gems, without flaw or imperfection, as are to be found amongst his minor poems. Criticism, in dealing with these exquisite lyrics, is at fault. If sometimes the suspicion of a certain effeminacy haunts us, we have but to turn the page, and we arrive at some magnificent, bold, and trumpet-toned ditty, appealing directly from the heart of the poet to the imagination of his audience, and proving, beyond all contest, that power was his glorious attribute. True, he was unequal; and towards the latter part of his career, exhibited a marked failing in the qualities which originally secured his renown. It is almost impossible to believe that the _Pilgrim of Glencoe_, or even _Theodric_, was composed by the author of the _Pleasures of Hope_ or _Gertrude_; and if you place the _Ritter Bann_ beside _Hohenlinden_ or the _Battle of the Baltic_, you cannot fail to be struck with the singular diminution of power. Campbell started from a high point--walked for some time along level or undulating ground--and then began rapidly to descend. This is not, as some idle critics have maintained, the common course of genius. Chaucer, Spenser, Shakspeare, Milton, Dryden, Scott, Byron, and Wordsworth, are remarkable instances to the contrary. Whatever may have been the promise of their youth, their matured performances, eclipsing their earlier efforts, show us that genius is capable of almost boundless cultivation, and that the fire of the poet does not cease to burn less brightly within him, because the sable of his hair is streaked with gray, or the furrows deepening on his brow. Sir Walter Scott was upwards of thirty before he began to compose in earnest: after thirty, Campbell wrote scarcely anything which has added permanently to his reputation. Extreme sensitiveness, an over-strained and fastidious desire of polishing, and sometimes the pressure of outward circumstances, may have combined to damp his early ardour. He evidently was deficient in that resolute pertinacity of labour, through which alone great results can be achieved. He allowed the best years of his life to be frittered away, in pursuits which could not secure to him either additional fame, or the more substantial rewards of fortune: and, though far from being actually idle, he was only indolently active. Campbell wanted an object in life. Thus, though gifted with powers which, directed towards one point, were capable of the highest