nnerist, and never knows where to stop. The [Greek: _Paedenagan_]
seems quite unknown to him. His pleasantry does not proceed from keen
and well-supported irony; just, but unexpected comparisons; but depends,
for effect, chiefly upon strange polysyllabic epithets, and the endless
enumeration of minute circumstances. In this he, no doubt, displays
considerable ingenuity, and a strong sense of what is ludicrous; but his
good things are almost all prepared after one receipt. There is some
talent, but more trick, in their composition. The thing is well done,
but it is of a low order; we meet with nothing graceful, nothing
exquisite, nothing that pleases upon repetition and reflection. In
everything that Mr. Smith attempts, in all his "bravura" passages,
serious or comic, one is always shocked by some affectation or
absurdity; something in direct defiance of all those principles which
have been established by the authority of the best critics, and the
example of the best writers: indeed, bad taste seems to be Mr. Smith's
evil genius, both as to sentiment and expression. It is always hovering
near him, and, like one of the harpies, is sure to pounce down before
the end of the feast, and spoil the banquet, and disgust the guests.

The present publication is by far the worst of all his performances,
avowed or imputed. Literary merit it has none; but in arrogance,
presumption, and absurdity, it far outdoes all his former outdoings.
Indeed, we regard it as one of the most deplorable mistakes that has
ever been committed by a man of supposed talents....

ON MACAULAY

[From _The Quarterly Review_, March, 1849]

_The History of England from the Accession of James II_.
By THOMAS BABINGTON MACAULAY. 2 vols. 8vo. 1849.

The reading world will not need our testimony, though we willingly give
it, that Mr. Macaulay possesses great talents and extraordinary
acquirements. He unites powers and has achieved successes, not only
various, but different in their character, and seldom indeed conjoined
in one individual. He was while in Parliament, though not quite an
orator, and still less a debater, the most brilliant rhetorician of the
House. His Roman ballads (as we said in an article on their first
appearance) exhibit a novel idea worked out with a rare felicity, so as
to combine the spirit of the ancient minstrels with the regularity of
construction and sweetness of versification which modern taste requires;
and his critical Essa