594 
Callege;” we ean readily admit, although 
his own criticisms may not every where 
be correct. 
POETRY. 
The poem of greatest importance which 
has appeared during the last half year is 
undoubtedly to be found in Mr. Scort’s 
“ Marmion, a Tale of Flodden-Field,” 
which in style, scenery, and the delinea- 
tion of avtient manners, bears a strong 
afiinity to the “ Lay of the last Minstrel.” 
The story turns upon the private adven- 
tures ofa fictitious character; but is called 
a Tale of Flodden-fteld, “‘pechude the 
hero’s fate isconnected with that memo- 
rable defeat, and the causes which led to 
#. The poem opens about the com- 
menceinent of August, and concludes 
with the defeat of Flodden, September 4, 
1513. It is divisted into six cantos; to 
each of which is prefixed an introduction 
in the form of an epistle, addressed to 
the following persons, W.S. Rose, esq. 
the Rev. John Marriot, William Erskine, 
esq. James Skene, esq. George Ellis, esq. 
and Richard Heber, esq. ‘Each cauto 
has a separate title. The first is called, 
the Castle, from its opening with Lord 
Barmion’s arrival at Norham, on the 
southern bank of the Tweed, as Henry 
the VIllth’s ambassador: whence we 
Shall transcribe as a specitnen, the pas- 
sage in which De Wilton, Lord Mar- 
mion’s enemy, was introduced to him in 
the disguised character of a pilgrim- 
guide. 
$¢ Whereas the Paimer came in hall, 
Nor ford, nor knight was there more 
tall, r) 
Dr had astatelier step withal, 
Or lopked more high and keent 
For no saluting did he wait, 
But strode across the hall of state, 
And fronted Marmion where he sate, 
As he his peer had been. 
But bis gaunt frame was worn with toi! ; 
His cheek was sunk, alas the while! 
And when he struggted at a smile, 
Fiseye look’d haggard wild. 
Poor wretch! the mother that him bare, 
Tfishe had: been in oresence there, 
¥n Ins wari face, and sea-burn’d hair, 
Shehad not Hnewn her chiid. 
Danger, long tray2i, want, or woe, 
on change the form that best we know, 
For deadly fear can timie outgo, 
And blanch at once the hair. 
ard toil can roughen form and faces 
Bnd. wact can quench the eye’s bright 
grace, 
Nor does old age.a wrinkle trace, 
More dkephy than des pair. 
. toes Zi 
4 
Retrospect of Domestic Literature—Poetry. 
Happy whom none of these befall, 
But this poor Paliner knew them ail. 
The second Canto is entitled, The 
Convent ; trom the close of which, after 
Constance de Beverley, whom Marmion 
had seduced, ts left by a solemn con 
clave to be immured, we shall make ani- 
other extract. 
An hundred winding steps convey 
That conclave to the uoper day ; 
But, ere they breath’d the fresher air, 
They heard the shriekings of despair, 
And many a stiffed groan. 
With speed their upward way they take, 
(Such speed as age and fear can make,) 
And cross’d themselves for terror’s sale, 
As hurrying, tottering on. 
Even in the vesper’ s héavenly tone, 
They seeavd to hear a dying groin, 
And bade the passing knell to toll 
For welfare of a parting seu). 
Slow o’er the midnight wave it swung; 
Northumbrian rocks in answer rung} 
To Warkworth cell the echoes roll’d, 
His beads the wakeful hermit told ¢ 
The Bamborough peasant raised his head 
But slept ere half'a prayer he said 3 i 
So far was heard the mighty knell, 
‘The stag sprung wp on Cheviot Fell, : 
Spread his broad nostril tothe windy 
Listed before, aside, behind; © 
Fhen couched hiny down Lise the hind, 
And quaked among the mountain fern, 
Fo hear that sound:sedull and stern. 
In the third Canto, entitled, The 
Hostel, or Inn, Marmion, stirred by an. 
idle tale of his host’s, undertakes a- iid 
night adventure. 
¢ In other pace than forth he yodey 
Return’d Lord Marmion, 
Down hastily he sprung from selle, 
And, in his haste, well nigh he fell ; 
To the “squire’s hand the rein he threw, 
And spoke no word as he withdrew ; 
But yet the moonlight did betray, 4 
Tne falcon crest was soil’d with clay 3 
And plainly might Fitz-Eustace see, 
By stains upon the charger’s kuec, 
Amd bis left side, that.on the moor 
e had not kept his footing sure.”’. 
‘the fourth Canto is entitled The. 
amp. In the fifth Canto, named 
Tie, Court, Marmion having been met 
by Sir David Lindsay, Lion King at 
Arms, is conducted, through the Scottish 
camp, where he mietke the ‘different races 
ef men of whom it was compo-ed, to- tlie 
court of James the V. The ‘description. 
of the Scottish monareh, is perhaps the’ 
most interesting part ef this canto. 
s¢ The monarch’s form was middle s1Ze 3. 
mo 
. For teat of strength, or exercise, 
Shaped in proportion fair; ; 
Ané 
