{28a} “_The Rebuilding_ is in the name of Mr. Southey, and is one of the best in the collection. It is in the style of the Kehama of that multifarious author, and is supposed to be spoken in the character of one of his Glendoveers. The imitation of the diction and measure, we think, is nearly almost perfect; and the descriptions as good as the original. It opens with an account of the burning of the old theatre, formed upon the pattern of the Funeral of Arvalan.”—JEFFREY, _Edinburgh Review_. {28b} For the Glendoveer, and the rest of the dramatis persona of this imitation, the reader is referred to the “Curse of Kehama.” {28c} “Midnight, and yet no eye Through all the Imperial City closed in sleep.” SOUTHEY. {29a} This couplet was introduced by the Authors by way of bravado, in answer to one who alleged that the English language contained no rhyme to chimney. {29b} Apollo. A gigantic wooden figure of this deity was erected on the roof. The writer (_horrescit referens_!) is old enough to recollect the time when it was first placed there. Old Bishop, then one of the masters of Merchant Tailors’ School, wrote an epigram upon the occasion, which, referring to the aforesaid figure, concluded thus: “Above he fills up Shakespeare’s place. And Shakespeare fills up his below.” Very antithetical; but quære as to the meaning? The writer, like Pluto, “long puzzled his brain” to find it out, till he was immersed “in a lower deep” by hearing Madame de Staël say, at the table of the late Lord Dillon, “Buonaparte is not a man, but a system.” Inquiry was made in the course of the evening of Sir James Mackintosh as to what the lady meant? He answered, “Mass! I cannot tell.” Madame de Staël repeats this apophthegm in her work on Germany. It is probably understood _there_.