The poetry of the Lay is beneath criticism; it has all sorts of obvious common-place defects, without any beauties either obvious or recondite. It is the Namby-Pamby of the Tabernacle; a Methodist sermon turned into doggrel verse. It is a gossipping confession of Mr. Southey’s political faith—the ‘Practice of Piety’ or the ‘Whole Duty of Man’ mixed up with the discordant slang of the metaphysical poets of the nineteenth century. Not only do his sentiments every where betray the old Jacobinical leaven, the same unimpaired desperate unprincipled spirit of partisanship, regardless of time, place, and circumstance, and of every thing but its own headstrong will; there is a gipsey jargon in the expression of his sentiments which is equally indecorous. Does our Laureate think it according to court-etiquette that he should be as old-fashioned in his language as in the cut of his clothes?—On the present occasion, when one might expect a truce with impertinence, he addresses the Princess neither with the fancy of the poet, the courtier’s grace, nor the manners of a gentleman, but with the air of an inquisitor or father-confessor. Geo. Fox, the Quaker, did not wag his tongue more saucily against the Lord’s Anointed in the person of Charles II., than our Laureate here assures the daughter of his Prince, that so shall she prosper in this world and the next, as she minds what he says to her. Would it be believed (yet so it is) that, in the excess of his unauthorized zeal, Mr. Southey in one place advises the Princess conditionally to rebel against her father? Here is the passage. The Angel of the English church thus addresses the Royal Bride:- ‘Bear thou that great Eliza in thy mind, Who from a wreck this fabric edified; And HER who to a nation’s voice resigned, When Rome in hope its wiliest engines plied, _By her own heart and righteous Heaven approved, Stood up against the Father whom she loved_.’ This is going a good way. Is it meant, that if the Prince Regent, ‘to a nation’s voice resigned,’ should grant Catholic Emancipation in defiance of the ‘Quarterly Review,’ Mr. Southey would encourage the Princess in standing up against her father, in imitation of the pious and patriotic daughter of James II.? This quaint effusion of poetical fanaticism is divided into four parts, the Proem, the Dream, the Epilogue, and L’Envoy. The Proem opens thus:— ‘There was a time when all my youthful thought Was of the Muse; and of the Poet’s fame, How fair it flourisheth and fadeth not, ... Alone enduring, when the Monarch’s name Is but an empty sound, the Conqueror’s bust Moulders and is forgotten in the dust.’