he tone of his writings) might be thought to have suffered too
much to be a truly great poet. If Mr. Moore lays himself too open to all
the various impulses of things, the outward shews of earth and sky, to
every breath that blows, to every stray sentiment that crosses his
fancy; Lord Byron shuts himself up too much in the impenetrable gloom of
his own thoughts, and buries the natural light of things in "nook
monastic." The Giaour, the Corsair, Childe Harold, are all the same
person, and they are apparently all himself. The everlasting repetition
of one subject, the same dark ground of fiction, with the darker colours
of the poet's mind spread over it, the unceasing accumulation of horrors
on horror's head, steels the mind against the sense of pain, as
inevitably as the unwearied Siren sounds and luxurious monotony of Mr.
Moore's poetry make it inaccessible to pleasure. Lord Byron's poetry is
as morbid as Mr. Moore's is careless and dissipated. He has more depth
of passion, more force and impetuosity, but the passion is always of the
same unaccountable character, at once violent and sullen, fierce and
gloomy. It is not the passion of a mind struggling with misfortune, or
the hopelessness of its desires, but of a mind preying upon itself, and
disgusted with, or indifferent to all other things. There is nothing
less poetical than this sort of unaccommodating selfishness. There is
nothing more repulsive than this sort of ideal absorption of all the
interests of others, of the good and ills of life, in the ruling passion
and moody abstraction of a single mind, as if it would make itself the
centre of the universe, and there was nothing worth cherishing but its
intellectual diseases. It is like a cancer, eating into the heart of
poetry. But still there is power; and power rivets attention and forces
admiration. "He hath a demon:" and that is the next thing to being full
of the God. His brow collects the scattered gloom: his eye flashes livid
fire that withers and consumes. But still we watch the progress of the
scathing bolt with interest, and mark the ruin it leaves behind with
awe. Within the contracted range of his imagination, he has great unity
and truth of keeping. He chooses elements and agents congenial to his
mind, the dark and glittering ocean, the frail bark hurrying before the
storm, pirates and men that "house on the wild sea with wild usages." He
gives the tumultuous eagerness of action, and the fixe