We have seen that Lamb, in the first agony of his grief, rudely threw aside his poetry, and his scheme of publishing conjointly with Coleridge. Poetry and schemes of publication are not, however, so easily dismissed. As his mind subsided into a calmer state, they were naturally resumed. The literary partnership was extended, and Lloyd was admitted to associate his labours in the forthcoming volume. "At length," says Mr Talfourd, "the small volume containing the poems of Coleridge, Lloyd, and Lamb, was published by Mr Cottle at Bristol. It excited little attention." We do not wonder at this, if the lucubrations of Mr Lloyd had any conspicuous place in the volume. How the other two poets--how Coleridge especially, could have consented to this literary partnership, with so singularly inept and absurd a writer, would be past explaining, if it were not for some hint that we receive that Charles Lloyd was the son of a wealthy banker, and might, therefore, be the fittest person to transact that part of the business which occurs between the author and the publisher. Here we have a striking instance of Mr Talfourd's misplaced amiability of criticism. "Lloyd," he says, "wrote _pleasing_ verses, and with great facility--a facility fatal to excellence; but his mind was chiefly remarkable for _the fine power of analysis which distinguishes his 'London,'_ and other of his later compositions. In this power of discriminating and distinguishing--carried to a pitch almost of painfulness--Lloyd has scarcely been equalled; and his poems, though rugged in point of versification, will be found, by those who will read them with the calm attention they require, replete with critical and moral suggestions of the highest value." Very grateful to Mr Serjeant Talfourd will any reader feel who shall be induced, by his recommendation, to peruse, or attempt to peruse, Mr Lloyd's poem of "London!" We were. "Fine power of analysis!" Why, it is one stream of mud--of theologic mud. "Rugged in point of versification!" There is no trace of verse, and the style is an outlandish garb, such as no man has ever seen elsewhere, either in prose or verse. Poor Lloyd was a lunatic patient!--on him no one would be severe; but why should an intelligent Serjeant, unless prompted by a sly malice against all mankind, persuade us to read his execrable stuff? The following is a fair specimen of the drug, and is, indeed, taken as the book opened. We add the two last lines of the preceding stanza, to give all possible help to the elucidation of the one we quote. The italics are all Mr Lloyd's:-- "If you affirm _grace irresistible_, You must deny all liberty of will. 142.