The young phoenix rises from the ashes of the old; so far we comprehend. This, metaphorically understood, would infer that a new and stronger passion rose from the ashes of the old and defunct one. But into the allegorical signification of Mrs Fuller's phoenix, we confess we cannot penetrate. We have a dim conception that it would not be found to harmonise very well with that other meaning conveyed to us in so dazzling a manner by the illuminated statue. Pity the lady could not have found some other poet to take off her hands one of those images: we are not so heartless as to suggest the expediency of the absolute sacrifice of either. It is not to be supposed that this authoress is always so startling and original as in these passages. She sometimes attains, and keeps for a while, the level of commonplace. But we do not remember in the whole of her two volumes a single passage where she rises to an excellence above this. If we did, we should be happy to quote it. "_Tales, by Edgar A. Poe_," is the next book upon our list. No one can read these tales, then close the volume, as he may with a thousand other tales, and straightway forget what manner of book he has been reading. Commonplace is the last epithet that can be applied to them. They are strange--powerful--more strange than pleasing, and powerful productions without rising to the rank of genius. The author is a strong-headed man, which epithet by no means excludes the possibility of being, at times, wrong-headed also. With little taste, and much analytic power, one would rather employ such an artist on the anatomical model of the Moorish Venus, than intrust to his hands any other sort of Venus. In fine, one is not sorry to have read these tales; one has no desire to read them twice. They are not framed according to the usual manner of stories. On each occasion, it is something quite other than the mere story that the author has in view, and which has impelled him to write. In one, he is desirous of illustrating La Place's doctrine of probabilities as applied to human events. In another, he displays his acumen in unravelling or in constructing a tangled chain of circumstantial evidence. In a third, ("The Black Cat") he appears at first to aim at rivalling the fantastic horrors of Hoffman, but you soon observe that the wild and horrible invention in which he deals, is strictly in the service of an abstract idea which it is there to illustrate. His analytic observation has led him, he thinks, to detect in men's minds an absolute spirit of "perversity," prompting them to do the very opposite of what reason and mankind pronounce to be right, simply because they _do_ pronounce it to be right. The punishment of this sort of diabolic spirit of perversity, he brings about by a train of circumstances as hideous, incongruous, and absurd, as the sentiment itself.