is a bad cause which cannot bear the words of a dying man and bravely died.

8. These merry scenes were succeeded by another, perhaps even merrier. On the anniversary of the late king's death, the bodies of Oliver Cromwell, Ireton and Bradshaw, were toin cut of their graves in Westminster Abbey, dragged to Tyburn hanged there on a gallows all day long, and then beheaded.

9. Imagine the head of Oliver Cromwell set upon a pole to be stared at by a brutal crowd, not one of whom would have dared to look the living Oliver in the face for half a moment Think, after you have read of this reign, what England was under Oliver Cromwell, whose body was torn out of its grave, and under this merry monarch, who sold it, like a merry Judas over and over again.

Dickens.

XCVI.

THE MODERN PUFFING SYSTEM.

FROM AN EPISTLE TO SAMUEL ROGERS, ESQ.

1. UNLIKE those feeble gales of praise
Which critics blew in former days,
Our modern puffs are of a kind
That truly, really, "raise the wind;"
And since they 've fairly set in blowing,
We find them the best "trade-winds" going.

2. What steam is on the deep and more

Is the vast power of Puff on shore;
Which jumps to glory's future tenses
Before the present even commences

And makes "immortal" and "divine" of us
Before the world has read one line of us.

3 In old times, when the god of song
Drove his own two-horse team along,
Carrying inside a bard or two
Booked for posterity "all through,"

*See Apollo, in the Explanatory Index.

Their luggage, a few close-packed rhymes
(Like yours, my friend, for after-times),-
So slow the pull to Fame's abode,
That folks oft slumbered on the road;
And Homer's self, sometimes, they say,
Took to his night-cap on the way.

4 But, now, how different is the story
With our new galloping sons of glory
Who, scorning all such slack and slow' time
Dash to posterity in no time!
Raise but one general blast of Puff
To start your author- that's enough.

5. In vain the critics, set to watch him,

Try at the starting-post to catch him :
He's off the puffers carry it hollow
The critics, if they please, may follow.
Ere they 've laid down their first positions
He's fairly blown through six editions!

6. In vain doth Edinburgh * dispense
Her blue and yellow pestilence
(That plague so awful, in my time,
and touchy sons of rhyme);

To young

The Quarterly. at three months' date,
To catch the Unread One, comes too late;
And nonsense, littered in a hurry,

Becomes "immortal,' spite of Murray.†

MOORE.

THE FUTURE OF AMERICA.

1. AMONG the first colonists from Europe to this part of America, there were some, doubtless, who contemplated the distant consequences of their undertaking, and who saw a grea futurity; but, in general, their hopes were limited to the enjoy

* An allusion to the Edinburgh Review, the Edinburgh edition of which has blue covers, backed with yellow.

+ Murray, the publisher of the London Quarterly Review.

ment of a safe asylum from tyranny, religious and civil, and te respectable subsistence by industry and toil. A thick veil hid our times from their view.

2. But the progress of America, however slow, could not but, at length, awaken genius, and attract the attention of mankind, In the early part of the next century, Bishop Berkeley, who, it will be remembered, had resided, for some time, in Newport in Rhode Island, wrote his well-known "Verses on the Prospec of Planting Arts and Learning in America."

3. The last stanza of this little poem seems to have been produced by a high poetical inspiration:

"Westward the course of empire takes its way;

The first four acts already past,

A fifth shall close the drama with the day,
Time's noblest offspring is the last."

4. This extraordinary prophecy may be considered only as the result of long foresight and uncommon sagacity; of a foresight and sagacity stimulated, nevertheless, by excited feeling and high enthusiasm. So clear a vision of what America would become was not founded on square miles, or on existing num bers, or on any vulgar laws of statistics.E

5. It was an intuitive glance into futurity; it was a grand conception, strong, ardent, glowing; embracing all times since the creation of the world, and all regions of which that world is composed; and judging of the future by just analogy with the past. And the inimitable im'age-ry and beauty with which the thought is expressed, joined to the conception itself, render it one of the most striking passages in our language.

6. On the day of the declaration of independence, our illustrious fathers performed the first act in this drama; an act in real importance infinitely exceeding that for which the great English poet invoked

"A Muse" of fire,

A kingdom for a stage, princes to act,

And monarchs to behold the swelling scene."

7. The Muse inspiring our fathers was the genius of Liberty

all on fire with the sense of oppression and a resolution to throw it off; the whole world was the stage, and higher characters that princes trod it; and instead of monarchs - countries, and uations, and the age, beheld the swelling scene. How well the characters were cast, and how well each acted his part, and what emotions the whole performance excited, let history now and hereafter teil. WEBSTER.

XCVIII.

VERSES ON THE PROSPECT OF PLANTING ARTS
AND LEARNING IN AMERICA.

ΕΙ

1. THE Muse, disgusted at an age and clime

Barren of every glorious theme,

In distant lands now waits a better time,
Producing subjects worthy fame;

In happy climes, where, from the genial sun
And virgin earth, such scenes ensue,
The force of art by nature seems outdone,
And fancied beauties by the true;

In happy climes, the seat of innocence,
Where nature guides and virtue rules;
Where men shall not impose, for truth and sense,
The pedantry of courts and schools.

2. There shall be sung another golden age, -
The rise of empire and of arts,
The good and great inspiring epic rage,-

The wisest heads and noblest hearts!
Not such as Europe breeds in her decay;-
Such as she bred when fresh and young,
When heavenly flame did animate her clay, --
By future poets shall be sung.

Westward the course of empire takes its way:
The first four acts already past,

A fifth shall close the drama with the day, -
Time's noblest offspring is the last!

GEORGE BERKELEY

XCIX. THE TYRANT OF SWITZERLAND.

SCENE FIRST.

(1 mountain, with mist. · Gesler seen descending, with a hunting staff.)

Gesler. ALONE-alone! and, every step, the mist

Thickens around me! On these mountain tracks
To lose one's way, they say, is sometimes death.
What, ho! Holloa!- No tongue replies to me
O Heaven, have mercy on me! Do not sce
The color of the hands I lift to you!
Let me not sink! Uphold! Have

mercy mercy.

- Albert enters, almost breathless from the

Albert. I'll breathe upon this level, if the wind
Ha! a rock to shelter me!

Will let me.

Thanks to it

-A man! and fainting. Courage, friend!

Courage? A stranger that has lost his way

-

Take heart

take heart: you are safe. How feel you now?

Ges. Better.

Alb

You have lost your way upon the hills?

Ges. I have.

Alb. And whither would you go?

Ges. To Altorf.

Alb. I'll guide you thither.

Ges. You are a child.

Alb. I know the way; the track I've come

Is harder far to find.

Ges. The track you have come!

--

What mean you? Sure

You have not been still further in the mountains?

Alb. I have travelled from Mount Faigel.

Ges. No one with thee?

Alb. No one but He.

Ges. Do you not fear these storms ?

Alb. He's in the storm.

Ges. And there are torrents, too.

That must be crossed