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which his fame will hereafter most probably rest. But the "Terence of England, the mender of hearts," unsatisfied with having made more than one successful effort in modern comedy, perhaps the most difficult of all compositions, seemed determined to show us that his vein though fertile was not inexhaustible, and that the friend of Garrick, of Goldsmith, and of Johnson, could write plays fit only to be prefatory to the more important matter of Mother Goose. These must be forgotten ere the author of the West Indian, the Brothers, the Jew, and the Wheel of Fortune, can enjoy his full honours; but we can comfort him with the assurance that the date of their memory is already nearly expired. As a periodical writer, Mr Cumberland's classical learning and accurate taste, his beautiful and flowing style, and the pleasing subjects on which he usually loves to employ himself, compensate in some degree for want of depth of thought, or novelty of conception. It is hardly possible to speak too highly of his translations from Aristophanes and the ancient Greek fragments, they are not only equal, but superior, to any thing of the kind in our language, and so great is our respect for the author of these exquisite versions, that we will not say a single word of his original poetry.

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But it is as a novelist that we are at present to examine Mr Cumberland's literary powers. cannot place Arundel and Henry on the same shelf with the works of Fielding or Smollet, and we are the less inclined to do so, as the latter novel, being

a close imitation of Tom Jones, serves particularly to show the wide difference between the authors. Yet Mr Cumberland's novels rank far above the usual stock in trade of the circulating library, are written in easy and elegant language, and evince considerable powers of observing generic, though not individual, characters. Excepting Smollet alone, whose sailors are, moreover, of a more ancient and rugged school, none has better delineated the characteristic and professional traits of the British navy, than Mr Cumberland. The mission to Spain filled his portfolio with interesting sketches of that people, and of the persecuted Jews, who yet reside amongst them, which we often trace in his novels, tales, and dramatic labours. The works of former authors he has laid liberally under contribution, and sometimes new-dressed their characters so well, as to give them an air of originality. Thus Ephraim Daw, in Henry, is a methodistical Parson Adams, having the same simplicity of character, the same goodness of heart, and the same disposition to use the carnal arm in a good cause, qualified by the enthusiastic tenets and language of the sect from which the author derives him. therefore, we repeat, rather in delineating a species than an individual that the art of Mr Cumberland consists, so far as it is original, the distinguishing personal features which he introduces being usually borrowed from others. Indeed we know but two remarkable peculiarities of taste in manners and incident which are completely his own, and run through all his works. The first is an odd and

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rather unnatural transfer of the task of courtship from the hero to the heroine of the piece. Mr Cumberland seems to have found an inexpressible charm in exchanging the attributes of the sexes, so that the weaker may turn the chase upon the stronger, and the pigeon become the pursuer of the hawk. The frank and exacting manners of Charlotte Rusport, and his other ladies, (which, should they ever become fashionable, would be no slight inconvenience to our modish gentlemen) were carried to their height in the novel of Henry, in which the virtues of continence and chastity, which, ever since the days of Heliodorus, the first novelist on record, have been esteemed the indispensable and inalienable property of the heroine of the tale, were, vi et armis, transferred to the hero, leaving the unfortunate damsel to whom they rightfully beJonged as bare of both as the birch-tree of leaves upon Christmas eve. This singular taste seemed so deeply ingrafted in Mr Cumberland's system of writing, that when we understood that he had selected a scriptural subject for his last poem, we never doubted for an instant that he had given the preference to the history of Joseph and Potiphar's wife. And though then mistaken, we find the present novel exhibiting symptoms too peculiar to be overlooked in a general view of Mr Cumberland's literary character. The second predilection to which we alluded, is the peculiar pleasure which this author finds in a duel with all its previous pomp and circumstance of gentlemanlike defiance, retort, and reproof valiant. A single com

bat, either commenced or completed, makes a part of almost all his narratives, and Dr Caranza himself cannot be estimated a more perfect judge of points of honour concerning the distance, the arms, and all the punctilio of the duello. Of this there is enough, and to spare, in the following pages.

The story of John de Lancaster is neither long nor complicated. The principal character and real hero of the novel is Robert de Lancaster, an ancient Welsh Esquire, whose character is derived from that of a Mr Shandy, senior, checkered with the hundred attributes of Cornelius Scriblerus, father of the renowned Martinus. He is a great reader of all such learned works as convey neither instruction nor information, and in perusing the ancient historians, whether of the classical or Gothic period, "holds each stranger tale devoutly true." This humour is pushed into the regions of utter and raving extravagance, especially as, saving in points of learning or science, we are required to believe that the old gentleman is not only of a sane mind, but endowed with uncommon good sense and talents, as well as with an admirable temper and most benevolent disposition, the cast whereof we think he derived from a certain Squire Alworthy, of Alworthy Hall in Somersetshire, who may not be utterly unknown to some of our readers. The credulity of this worthy person being seconded by no small quantity of family pride, he places implicit reliance on a pedigree which deduces his family in a direct line, not from Brutus or Howel Dha, but from Samothes, son of Japheth, the third son of

Noah; and believes that his ancestor acquired the family-estate sixty-six years after the taking of Troy, and eleven hundred thirty and two years before the Christian era. He credits another tradition, which affirms that his ancestor taught King Bladud to fly; and another concerning an island in Ireland where the natives are immortal. As if this burden were not sufficient for his faith, he believes with Mr Shandy in the effect of Christian-names upon their owners, with Cornelius Scriblerus in the influence of the harp in appeasing insurrections, and contends that “soft airs well executed on the flute, were found to be a never failing cure for the sciatica or hip-gout."- Vol. i. p. 289.

When the tale opens, Robert de Lancaster is residing quietly in his hereditary castle with his daughter Cecilia, an amiable old maid, his son Philip, a sort of cousin-german to the author's excellent Ned Drowsy, and his daughter-in-law, wife of the said Philip, who is then just about to add an heir to Kray Castle, and a link to the lineage of Samothes ар Japheth ap Noah. This desirable event is hastened in a very undesirable manner by an awkward Welsh baronet, named Sir Owen ap Owen, who, in a fit of tumultuous gallantry, overturns the tea-equipage into the lap of Mrs De Lancaster. While she receives the necessary attendance in her premature accouchement, the group below are left in circumstances which again fatally remind us of the Life and Opinions of Tristram Shandy. The elder De Lancaster on this occasion harangues his friend Colonel Wilson, a maimed

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