THEOLOGICAL CRITIC. POEMS on Miscellaneous Subjects. 12mo. pp. 145. These poems are the production of a young lady, whose signature, JEMIMA BARKER, appears affixed to the dedication to the Rev. Dr. Collyer. The author modestly intimates, that her principal reason for publishing them was usefulness. Were she to read superior poetry, and urge her muse to higher strains, she probably possesses the power of accomplishing something better. Compared with the generality of religious poems, this volume makes a respectable figure; but if placed among the productions of superior poets, it will not rise above mediocrity. The author has, however, our cordial wishes for her success, and our hopes, that she will cultivate her talent. Persons, not critically inclined, may read her pages with much pleasure. The following specimen will shew that the writer can produce something possessing poetic feeling: SONNET. To the Portrait of an Unfaithful Friend. How many a useful lesson may I gain: My thoughts shall soar beyond these lower skies Ne'er had I sought, with earnestness and zeal, Or proved her sacred power, the wounded heart to heal. SACRED LYRICS. By JAMES EDMESTON. Set. 12mo. pp. 76. Third MR. EDMESTON still gratifies us in his favourite style, the light and airy; combining the spirit of poetry with the cheerful emotions of the pious heart, and sometimes he touches the chords of tenderness with the hands of a true Christian minstrel. We, however, think the former sets of the Lyrics have the preeminence; though we mean not, by this remark, to deny to the present, that praise which they justly merit. Hesitating between several examples, we quote the following, which is truly beautiful: 'But, I would not have you to be ignorant, brethren, concerning those who are asleep, that ye sorrow not, even as others, who have no hope.'-I. Thess. iv. xiii. Of all the flowers of Eden left us, The few, few buds of that realm of light; In the garden of Love, and by FRIENDSHIP form'd; And in joy, by the sunshine of sweet smiles warm'd. But these alas!-how often they wave, Their beauty filed, Over some dear and some cherish'd grave! Than the pleasure before, For that pass'd o'er, The flowers all die, but the thorns still live. A sky of unclouded unchanging bliss, Awaits those withering flow'rets yet: PURE FIELDS OF HEAVENLY LIGHT! in you There is no parting, no adieu; But life-streams flow, and bowers, whose shade, No sin can taint, no death can fade; Spirit that twined with spirit here, More sweetly twine; and not a grief That wither'd here, The stamp of IMMORTALITY! A REPLY to Mr. Reed's Advertisement to the Seventh Edition of No Fiction'; with a Review of 'Martha.' By FRANCIS BARNETT, Author of 'Memoirs of Himself. 12mo. pp. 48. THERE is something in the nature of controversy, which makes it soon become tedious: it often requires repetition, and it is rarely continued long in a good spirit. This is very likely to be the case with that sort of controversy, in which persons are more especially concerned. Individuals engaged in this species of warfare, are apt to forget that the public do not feel interested, like themselves. We, therefore, do not think, that Mr. B. was well-advised in publishing this pamphlet, which is little more than a repetition of previous statements and observations. A Review of Martha is affixed. Not having yet read the work, we can have no opinion on its justness; and, though we have no doubt, from Mr. Reed's style of writing, that it is somewhat embellished, we think that Mr. Barnett is too deeply involved in conflict with the author, to be the medium of an impartial review. Mr. Barnett having satisfied the public as to his integrity, would now do well to let the matter drop. A SELECTION OF THE BEAUTIES OE HANDEL, arranged for the Piano Forte, by JOHN Davy, &c. &c. Parts 1, 2, 3. 4to. WHATEVER is suitable for the piano forte is here selected. The arrangement and selection are judi cious. There are, occasionally, some trifling errors in the engraving, which the Editor would do well to avoid. The work is desirable for those, who at a moderate expense, wish to possess the publication of the greatest composer of sacred music that the world ever knew; and deserves the attention of every admirer of Handel. The price, to subscribers, is exceedingly cheap, being at half that of the usual charge for music: and we understand that the proposed number is not yet completed. This work is published for the benefit of Mr. Davy, the Editor, who, in consequence of a long and severe illness, is in indigent circumstances: and, it is to be regretted, that the limited circulation which it has obtained, is so inadequate to afford him any material benefit. We shall be happy to learn, that our information has increased the number of the purchasers. The Arts. AN embossed model of Palestine, or the Holy Land, is now exhibiting in Adam Street, Adelphi. It is a very ingenious production, being a parallelogram of about 20 feet by 10, on which are represented, in relief, and distinctively tinted, the principal features of the Holy Land, and the different places connected with Scripture History, and with the most prominent circumstances recorded in the Old and New Testaments. Palestine, or the Holy Land, which is unquestionably the most remarkable country upon the face of the earth, is, as our readers know, the southern district of Syria; having, on the north, Mount Libanus; on the south, Mount Seir, and the Deserts of Pharan, in Arabia; on the east, Mount Hermon and Gilead, with Arabia Deserta; and on the west, the Mediterranean Sea. It has, at successive periods, borne the appellation of Canaan, the Promised Land, Palestine, Judea, and the Holy Land. After the Babylonish Captivity, it became successively subject to Persia, to Macedonia, to Syria, to Egypt, to Rome, to the Ottoman Turks, to the Seljuhian Turks, to the Crusaders of Europe, to the Saracens, and eventually again to the Ottoman Turks, under whose barbarous dominion it has remained for above three centuries. To the serious and devout, this model will be a source of deep interest. It is impossible to contemplate it without strongly feeling, as the detailed and well-composed description, sold in the room, expresses it, the contrast of magnificence and desolation, of holiness and depravity, of which this portion of the earth presents an example so forcible and gloomy?' Dost thou mourn thy strength decaying, Feel thy nature ever straying, Ever querulous within? Pour thy 'plaint on Jesu's pity, Urge thy weakness, plead thy woe; Glance a thought beyond his mercy, Not a secret whisper heaving Not the slow-wrought tempest's rage, But his mighty presence calming, Jesu's fiat can assuage. |