The “Quacks of Helicon,” as a poem and otherwise, has many defects, and these we shall have no scruple in pointing out—although Mr. Wilmer is a personal friend of our own;[4] and we are happy and proud to say so—but it has also many remarkable merits—merits which it will be quite useless for those aggrieved by the satire—quite useless for any _clique_, or set of _cliques_, to attempt to frown down, or to affect not to see, or to feel, or to understand. ----- [4] Of Mr. Poe’s. Its prevalent blemishes are referrible chiefly to the leading sin of _imitation_. Had the work been composed professedly in paraphrase of the whole manner of the sarcastic epistles of the times of Dryden and Pope, we should have pronounced it the most ingenious and truthful thing of the kind upon record. So close is the copy, that it extends to the most trivial points—for example to the old forms of punctuation. The turns of phraseology, the tricks of rhythm, the arrangement of the paragraphs, the general conduct of the satire—everything—all—are Dryden’s. We cannot deny, it is true, that the satiric model of the days in question is insusceptible of improvement, and that the modern author who deviates therefrom, must necessarily sacrifice something of merit at the shrine of originality. Neither can we shut our eyes to the fact, that the imitation, in the present case, has conveyed, in full spirit, the higher qualities, as well as, in rigid letter, the minor elegances and general peculiarities of the author of “Absalom and Achitophel.” We have here the bold, vigorous, and sonorous verse, the biting sarcasm, the pungent epigrammatism, the unscrupulous directness, as of old. Yet it will not do to forget that Mr. Wilmer has been _shown how_ to accomplish these things. He is thus only entitled to the praise of a close observer, and of a thoughtful and skilful copyist. The images are, to be sure, his own. They are neither Pope’s, nor Dryden’s, nor Rochester’s, nor Churchill’s—but they are moulded in the identical mould used by these satirists. This servility of imitation has seduced our author into errors which his better sense should have avoided. He sometimes mistakes intention; at other times he copies faults, confounding them with beauties. In the opening of the poem, for example, we find the lines— Against usurpers, Olney, I declare A righteous, just, and patriotic war. The rhymes _war_ and _declare_ are here adopted from Pope, who employs them frequently; but it should have been remembered that the modern relative pronunciation of the two words differs materially from the relative pronunciation of the era of the “Dunciad.”