In a man under the immediate pressure of a great sorrow, we tolerate morbid exaggerations; we are prepared to see him turn away a weary eye from sunlight and flowers and sweet human faces, as if this rich and glorious life had no significance but as a preliminary of death; we do not criticise his views, we compassionate his feelings. And so it is with Young in these earlier Nights. There is already some artificiality even in his grief, and feeling often slides into rhetoric, but through it all we are thrilled with the unmistakable cry of pain, which makes us tolerant of egoism and hyperbole: “In every varied posture, place, and hour, How widow’d every thought of every joy! Thought, busy thought! too busy for my peace! Through the dark postern of time long elapsed Led softly, by the stillness of the night,— Led like a murderer (and such it proves!) Strays (wretched rover!) o’er the pleasing past,— In quest of wretchedness, perversely strays; And finds all desert now; and meets the ghosts Of my departed joys.” But when he becomes didactic, rather than complaining—when he ceases to sing his sorrows, and begins to insist on his opinions—when that distaste for life which we pity as a transient feeling is thrust upon us as a theory, we become perfectly cool and critical, and are not in the least inclined to be indulgent to false views and selfish sentiments. Seeing that we are about to be severe on Young’s failings and failures, we ought, if a reviewer’s space were elastic, to dwell also on his merits—on the startling vigor of his imagery—on the occasional grandeur of his thought—on the piquant force of that grave satire into which his meditations continually run. But, since our “limits” are rigorous, we must content ourselves with the less agreeable half of the critic’s duty; and we may the rather do so, because it would be difficult to say anything new of Young, in the way of admiration, while we think there are many salutary lessons remaining to be drawn from his faults.