of his brain,” and he had not even then recovered enough from it, to describe how it was. The high- minded, metaphysical thief, its hero, was so warmly admired, that several raw students, longing to imitate a character they thought so noble, actually abandoned their homes and their colleges, and betook themselves to the forests and wilds to levy contributions upon travellers. They thought they would, like Moor, plunder the rich, and deliver eloquent soliloquies to the setting sun or the rising moon; relieve the poor when they met them, and drink flasks of Rhenish with their free companions in rugged mountain passes, or in tents in the thicknesses of the forests. But a little experience wonderfully cooled their courage; they found that real, every-day robbers were very unlike the conventional banditti of the stage, and that three months in prison, with bread and water for their fare, and damp straw to lie upon, was very well to read about by their own fire sides, but not very agreeable to undergo in their own proper persons.

Lord Byron, with his soliloquising, high-souled thieves, has, in a slight degree, perverted the taste of the greenhorns and incipient rhymesters of his country. As yet, however, they have shown more good sense than their fellows of Germany, and have not taken to the woods or the highways. Much as they admire Conrad the Corsair, they will not go to sea, and hoist the black flag in emulation of him. By words only, and not by deeds, they testify their admiration, and deluge the periodicals and music shops of the hand with verses describing pirates’ and bandits’ brides, and robber adventures of every kind.

But it is the play-wright who does most harm; and Byron has fewer sins of this nature to answer for than Gay or Schiller, and the modern dramatizers of Jack Sheppard. With the aid of scenery, fine dresses, and music, and the very false notions they convey, they vitiate the public taste, not knowing,

In the penny theatres that abound in the poor and populous districts of London, and which are chiefly frequented by striplings of idle and dissolute habits, tales of thieves and murderers are more admired, and draw more crowded audiences, than any other species of representation. There the footpad, the burglar, and the highwayman are portrayed in unnatural colours, and give pleasant lessons in crime to their delighted listeners. There the deepest tragedy and the broadest farce are represented in the career of the murderer and the thief, and are applauded in proportion to their depth and their breadth. There, whenever a crime of unusual atrocity is committed, it is brought out afresh, with all its disgusting incidents copied from the life, for the amusement of those who will one day become its imitators.

With the mere reader the case is widely different; and most people have a partiality for knowing the adventures of noted rogues. Even in fiction they are delightful: witness the eventful story of Gil Blas de Santillane, and of that great rascal Don Guzman d’Alfarache. Here there is no fear of imitation. Poets, too, without doing mischief, may sing of such heroes when they please, wakening our sympathies for the sad fate of Gilderoy, or Macpherson the Dauntless; or celebrating in undying verse the wrongs and the revenge of the great thief of Scotland, Rob Roy. If, by the music of their sweet rhymes, they can convince the world that such heroes are but mistaken philosophers, born a few ages too late, and having both a theoretical and practical love for

“The good old rule, the simple plan,
That they should take who have the power,
That they should keep who can,”

the world may, perhaps, become wiser, and consent to some better distribution of its good things, by means of which thieves may become reconciled to the age, and the age to them. The probability, however, seems to be, that the charmers will charm in vain, charm they ever so wisely.