It would be absurd to read the works of such a writer for political instruction. The utmost that can be expected from any system promulgated by him is that it may be splendid and affecting, that it may suggest sublime and pleasing images. His scheme of philosophy is a mere day-dream, a poetical creation, like the Domdaniel cavern, the Swerga, or Padalon; and indeed it bears no inconsiderable resemblance to those gorgeous visions. Like them, it has something of invention, grandeur, and brilliancy. But, like them, it is grotesque and extravagant, and perpetually violates even that conventional probability which is essential to the effect of works of art. The warmest admirers of Mr. Southey will scarcely, we think, deny that his success has almost always borne an inverse proportion to the degree in which his undertakings have required a logical head. His poems, taken in the mass, stand far higher than his prose works. His official Odes indeed, amoung which the {136}Vision of Judgment must be classed, are, for the most part, worse than Pye’s and as bad as Cibber’s; nor do we think him generally happy in short pieces. But his longer poems, though full of faults, are nevertheless very extraordinary productions. We doubt greatly whether they will be read fifty years hence; but that, if they are read, they will be admired, we have no doubt whatever. But, though in general we prefer Mr. Southey’s poetry to his prose, we must make one exception. The Life of Nelson is, beyond all doubt, the most perfect and the most delightful of his works. The fact is, as his poems most abundantly prove, that he is by no means so skilful in designing as in filling up. It was therefore an advantage to him to be furnished with an outline of characters and events, and to have no other task to perform than that of touching the cold sketch into life. No writer, perhaps, ever lived, whose talents so precisely qualified him to write the history of the great naval warrior. There were no fine riddles of the human heart to read, no theories to propound, no hidden causes to develope, no remote consequences to predict. The character of the hero lay on the surface. The exploits were brilliant and picturesque. The necessity of adhering to the real course of events saved Mr. Southey from those faults which deform the original plan of almost every one of his poems, and which even his innumerable beauties of detail scarcely redeem. The subject did not require the exercise of those reasoning powers the want of which is the blemish of his prose. It would not be easy to find, in all literary history, an instance of a more exact hit between wind and water. John Wesley and the Peninsular War were subjects of a very different kind, subjects which required {137}all the qualities of a philosophic historian. In Mr. Southey’s works on these subjects, he has, on the whole, failed. Yet there are charming specimens of the art of narration in both of them. The Life of Wesley will probably live.