Blackwood's Edinburgh Magazine, Volume 70, No. 433, November 1851

Comnenus. What! there's some talk
Of balmy breath, and hearts pierced through and through
With eyes' miraculous brightness – vows ne'er broken,
Until the church had sealed them – charms loved madly,
Until it be a sin to love them not —
And kisses ever sweet, till they be innocent —
But that your lover's not put down?
Alexius. No, none of it.
There are but two words.
Comnenus. That's succinct; what are they?
Alexius. 'Alas, Irene!' Why thy looks are now —

Comnenus parries the question of his brother, contrives to dismiss him, and remains alone upon the spot.

"This is the very earth that covers her,
And lo! we trample it like common clay!
… When I last stood here
Disguised, to see a lowly girl laid down
Into her early grave, there was such light
As now doth show it, but a bleaker air,
Seeing it was December. 'Tis most strange;
I can remember now each circumstance
Which then I scarce was conscious of; like words
That leave upon the still susceptive sense
A message undelivered till the mind
Awakes to apprehensiveness and takes it.
'Twas o'er – the muttered unattended rite,
And the few friends she had beside myself
Had risen and gone; I had not knelt, but stood
With a dull gaze of stupor as the mould
Was shovelled over, and the broken sods
Fitted together. Then some idle boys,
Who had assisted at the covering in,
Ran off in sport, trailing the shovels with them,
Rattling upon the gravel; and the sexton
Flattened the last sods down, and knocked his spade
Against a neighbouring tombstone to shake off
The clinging soil, – with a contented air,
Even as a ditcher who has done his work.
… Oh Christ!
How that which was the life's life of our being
Can pass away, and we recall it thus!"

Whilst reading this play of Isaac Comnenus we seemed to perceive a certain Byronian vein, which came upon us rather unexpectedly. Not that there is any very close resemblance between Comnenus and the heroes of Lord Byron; but there is a desperate wilfulness, a tone of scepticism, and a caustic view of human life, which occasionally recall them to mind. We turned to the preface to Philip Van Artevelde, where there is a criticism upon the poetry of Byron, not unjust in the faults it detects, but cold and severe, as it seems to us, in the praise that it awards; and we found there an intimation which confirmed our suspicion that Isaac Comnenus had been written whilst still partially under the influence of that poetry – written in what we may describe as a transition state. He says there of Lord Byron's poetry, "It will always produce a powerful impression upon very young readers, and I scarcely think that it can have been more admired by any than myself, when I was included in that category." And have we not here some explanation of the severity and coldness of that criticism itself? Did not the maturer intellect a little resent in that critical judgment the hallucinations of the youth?

Perhaps we are hardly correct in calling the temper and spirit we have here alluded to Byronian; they are common to all ages and to many minds, though signally developed by that poet, and in our own epoch. Probably the future historian of this period of our literature will attribute much of this peculiar exhibition of bitterness and despondency to the sanguine hopes first excited and then disappointed by the French Revolution. He will probably say of certain regions of our literature, that the whole bears manifest traces of volcanic origin. Pointing to some noble eminence, which seems to have been eternally calm, he will conjecture that it owed its elevation to the same force which raised the neighbouring Ætna. Applying the not very happy language of geology, he may describe it as "a crater of elevation;" which, being interpreted, means no crater at all, but an elevation produced by the like volcanic agency: the crater itself is higher up in the same mountain range.

There still remains one other small volume of Mr Taylor's poetry, which we must not pass over entirely without mentioning. The Eve of the Conquest, and other Poems. The chief piece here is of the nature of a dramatic scene. Harold, the night before the battle of Hastings, converses with his daughter, unfolds some passages of his past life, and vindicates himself in his quarrel with that William the Norman who, on the morrow, was to add the title of Conqueror to his name. But as it will be more agreeable to vary the nature of our quotations, we shall make the few extracts we have space for from the lyric poems which follow.

The "Lago Varese" will be, we suspect, the favourite with most readers. The image of the Italian girl is almost as distinctly reflected in the verse as it would have been in her own native lake.

"And sauntering up a circling cove,
I found upon the strand
A shallop, and a girl who strove
To drag it to dry land.
I stood to see – the girl looked round – her face
Had all her country's clear and definite grace.

She rested with the air of rest
So seldom seen, of those
Whose toil remitted gives a zest,
Not languor, to repose.
Her form was poised, yet buoyant, firm, though free,
And liberal of her bright black eyes was she.

The sunshine of the Southern face,
At home we have it not;
And if they be a reckless race,
These Southerns, yet a lot
More favoured, on the chequered earth is theirs;
They have life's sorrows, but escape its cares.

There is a smile which wit extorts
From grave and learned men,
In whose austere and servile sports
The plaything is a pen;
And there are smiles by shallow worldlings worn,
To grace a lie or laugh a truth to scorn:

And there are smiles with less alloy
Of those who, for the sake
Of some they loved, would kindle joy
Which they cannot partake;
But hers was of the kind which simply say,
They came from hearts ungovernably gay."

The "Lago Lugano" is a companion picture, written "sixteen summers" after, and on a second visit to Italy. One thing we notice, that in this second poem almost all that is beautiful is brought from the social or political reflections of the writer: it is not the outward scene that lies reflected in the verse. He is thinking more of England than of Italy.

"Sore pains
They take to set Ambition free, and bind
The heart of man in chains."

And the best stanza in the poem is that which is directly devoted to his own country: —

"Oh, England! 'Merry England,' styled of yore!
Where is thy mirth? Thy jocund laughter, where?
The sweat of labour on the brow of care
Make a mute answer – driven from every door!
The May-pole cheers the village green no more,
Nor harvest-home, nor Christmas mummers rare.