est when he feels the most so, nor must he mistake the absence of
this feeling for a symptom of diminished power. Should he be at any time
inclined to such a self-estimate, let him refer his judgment to his
'Prometheus' and 'Rhoecus.' In his 'Ode' also, and his 'Glance behind the
Curtain,' there is much to embolden him toward the highest endeavors in
what he would perhaps disdain to call his Art. Poesy, notwithstanding,
_is_ an _Art_, which even HORACE and DRYDEN did not scorn to consider
such; and our poet ought to remember that he is bound not only to utter
his own sentiments and fantasies according to his own impulse, but
moreover to consult in some degree the ears of the world: the poet's task
is double; to speak FROM himself indeed, but TO the hearing of others. The
contempt which a man of genius feels for the mere mechanicism of verse and
rhyme may naturally enough lead him to affect an inattention to it; but in
this he only benefits the school of smoother artists by allowing them at
least _one_ superiority. If he accuses them of being silly, they can
retort that he is ugly.

Our author in this second volume has given the small carpers who pick at
the 'eds' of past participles, and stickle for old-fashioned _moon_-shine
instead of moon-_shine_, fewer causes of complaint. His diction is
well-chosen and befitting his themes; and this is a characteristic which
peculiarly marks the true artist, if it does not indicate the true genius.
His execution, his 'style of handling,' is adapted to his subject; an
excellence in which too many artists, whether painters or poets, are sadly
deficient. In this respect his performances and those of his friend PAGE
may be hung together. From the stately and dignified lines of 'Prometheus'
to the jetty, dripping verse of 'The Fountain,' the step is very wide. How
full of sparkling, brilliant effects are these joyous lines?

Into the sunshine,
Full of the light,
Leaping and flashing
From morn till night!

Into the moonlight,
Whiter than snow,
Waving so flower-like
When the winds blow!

Mr. LOWELL occasionally makes use of somewhat quaint, Spenserian
expressions, but generally with peculiar effect. His abundant fancy seems
to find its natural garb in the short and expressive phraseology of those
old English writers of whom he manifests on all occasions so thorough an
appreciation. As a sweet specimen, although a careless one, of his power
of combining deep