The widow, the termagant heroine of the poem, is still more disagreeable than her lover; and her sarcastic account of the passion of love, as consisting entirely in an attachment to land and houses, goods and chattels, which is enforced with all the rhetoric the author is master of, and hunted down through endless similes, is evidently false. The vulgarity and meanness of sentiment which Butler complains of in the Presbyterians, seems at last from long familiarity and close contemplation to have tainted his own mind. Their worst vices appear to have taken root in his imagination. Nothing but what was selfish and groveling sunk into his memory, in the depression of a menial situation under his supposed hero. He has, indeed, carried his private grudge too far into his general speculations. He even makes out the rebels to be cowards and well beaten, which does not accord with the history of the times. In an excess of zeal for church and state, he is too much disposed to treat religion as a cheat, and liberty as a farce. It was the cant of that day (from which he is not free) to cry down sanctity and sobriety as marks of disaffection, as it is the cant of this, to hold them up as proofs of loyalty and staunch monarchical principles. Religion and morality are, in either case, equally made subservient to the spirit of party, and a stalking-horse to the love of power. Finally, there is a want of pathos and humour, but no want of interest in Hudibras. It is difficult to lay it down. One thought is inserted into another; the links in the chain of reasoning are so closely rivetted, that the attention seldom flags, but is kept alive (without any other assistance) by the mere force of writing. There are occasional indications of poetical fancy, and an eye for natural beauty; but these are kept under or soon discarded, judiciously enough, but it should seem, not for lack of power, for they are certainly as masterly as they are rare. Such are the burlesque description of the stocks, or allegorical prison, in which first Crowdero, and then Hudibras, is confined: the passage beginning— ‘As when an owl that’s in a barn, Sees a mouse creeping in the corn, Sits still and shuts his round blue eyes, As if he slept,’ &c. And the description of the moon going down in the early morning, which is as pure, original, and picturesque as possible:— ‘The queen of night, whose large command Rules all the sea and half the land, And over moist and crazy brains In high spring-tides at midnight reigns, Was now declining to the west, To go to bed and take her rest.’ Butler is sometimes scholastic, but he makes his learning tell to good account; and for the purposes of burlesque, nothing can be better fitted than the scholastic style.