dogmatism, than we ever met with in any thing intended for the public
eye. They are filled, indeed, with praises of the author himself, and
his works, and his laurel, and his dispositions; notices of his various
virtues and studies; puffs of the productions he is preparing for the
press, and anticipations of the fame which he is to reap by their means,
from a less ungrateful age; and all this delivered with such an oracular
seriousness and assurance, that it is easy to see the worthy Laureate
thinks himself entitled to share in the prerogatives of that royalty
which he is bound to extol, and has resolved to make it

--his great example as it is his theme.

For, as sovereign Princes are permitted, in their manifestoes and
proclamations, to speak of their own gracious pleasure and royal wisdom,
without imputation of arrogance, so, our Laureate has persuaded himself
that he may address the subject world in the same lofty strains, and
that they will listen with as dutiful an awe to the authoritative
exposition of his own genius and glory. What might have been the success
of the experiment, if the execution had been as masterly as the design
is bold, we shall not trouble ourselves to conjecture; but the contrast
between the greatness of the praise and the badness of the poetry in
which it is conveyed, and to which it is partly applied, is abundantly
decisive of its result in the present instance, as well as in all the
others in which the ingenious author has adopted the same style. We took
some notice of the _Carmen Triumphale_, which stood at the head of the
series. But of the Odes which afterwards followed to the Prince Regent,
and the Sovereigns and Generals who came to visit him, we had the
charity to say nothing; and were willing indeed to hope, that the
lamentable failure of that attempt might admonish the author, at least
as effectually as any intimations of ours. Here, however, we have him