And foaming and roaming,
And dropping and hopping,
And working and jerking,
And guggling and struggling
And heaving and cleaving,

And thundering and floundering,

And falling and brawling and sprawling,
And driving and riving and striving,
And sprinkling and twinkling and wrinkling,
And sounding and bounding and rounding,
And bubbling and troubling and doubling,
Dividing and gliding and sliding,
And grumbling and rumbling and tumbling,
And clattering and battering and shattering,

And gleaming and streaming and steaming and beaming,
And rushing and flushing and brushing and gushing,
And flapping and rapping and clapping and slapping,
And curling and whirling and purling and twirling,
Retreating and beating and meeting and sheeting,
Delaying and straying and playing and spraying,
Advancing and prancing and glancing and dancing,
Recoiling, turmoiling and toiling and boiling,
And thumping and flumping and bumping and jumping,
And dashing and flashing and splashing and clashing,
And so never ending, but always descending,
Sounds and motions for ever and ever are blending,
All at once and all o'er, with a mighty uproar,-

And this way the water comes down at Lodore.

THE REVIEW.

"We belong to the unpopular family of Tell-truths, and would not flatter Apollo for his Lyre."-ROB ROY.

THE PIONEERS, OR THE SOURCES OF THE SUSQUEHANNA, A descriptive Tale. By the author of "The Spy." 3 vols. 12mo. London, Murray, 1823.

In our review of Bracebridge Hall, we took occasion to notice the Spy. We regarded it as a production of very high merit by far the best of the multitudes which have been put forth on the model, and in imitation, of the Great Unknown. When we say, however,

model of the Waverley

that the Spy is written on the novels-we would by no means be understood to signify that the imitation is servile or even close. It is a vivid and spirited representation of manners, scenery, and romantic events-and thence, must necessarily in some degree resemble the most spirited and vivid representations of such things that ever were given to the world.

There are, indeed, some parts of the Spy, which would be no discredit to the pen of even the author of Waverley. The character of Lawton, original as it is, and admirably sustained thoughout, is a creation of no ordinary power. When we use the term 'admirably sustained throughout,' we mean to give much more than common praise-for we hold it to be a very rare thing to see a character preserved through five acts, or three volumes, in perfect keeping and harmony. Minor artists frequently give a formal and elaborate description at the beginning, which in the sequel is forgotten, if not contradicted; and without which our ideas of the character portrayed would be to the last degree vague, and imperfect. It is

the master-hand only, which gives no catalogue of qualities; but, by a succession of rapid touches, makes actions and words place the doer and speaker before you. This is done to a very peculiar extent in the character of which we speak-and we cite it more particularly from its being (with the exception, perhaps, of the negro, who is, we conclude, a local transcript) the most original in the book. It is the more so, we think, from the very circumstance that in broad outline the conception is by no means a new one. It is the completely novel form into which used materials are thrown, together with the minute and delicate, yet rapid and apparently unstudied, shadings, that gives to Lawton so individual and original an aspect. In less skilful hands, he would have been either a mere ruffian, or the bluff good-humoured soldier, which are both so common;-but this author has softened his boldness-even fierceness-and his terrible bodily power, with so much jovial humour, and kind-heartedness-and has thrown so much of romance into his daring and desperate exploits, that he has produced the very beau-idéal of a condottiere of modern times-a guerilla chief of English warfare. The Surgeon is a most amusing piece of fantastic sketching; while the Spy himself possesses all the interest without any of the novelism of mystery. The skill, too, with which the great Washington is introduced is very admirable. It needs, indeed, very great skill to touch upon such ground at all in America;-for we have been told that an attempt once made to bring the character of Washington on the stage, was received with an indignation, and even horror, little short, as our informant said, of what would have been felt at a proposal similarly to personify the Saviour of mankind.

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But it is not in character alone that this work asserts

its superiority. The description of localities is graphic in an extraordinary degree,-and the adventures, which are extremely romantic, and in very quick succession, are given, with great happiness and vigour. The whole scene, where Wharton escapes with the Spy, is rapid and interesting in the extreme,-and is a striking example, among the many which occur in these volumes, of how clever, and even original, a good imitation can be, with out being in the least a copy. The events at the Four Crosses are in a different style, and excellent in their way. Betty Flanagan is the best Moll Flaggon we remember to have met with, and the imperturbable Serjeant Hollister is one of those slight sketches in which the hand of a master is forcibly shewn. The death of the Spy's father evinces a power of pathos which, from its infrequent use, we should scarcely have imagined this author to possess, and which we should be glad to see more often introduced among his vigorous sketchings of character, and the felicitous and dramatic action of his story.

The work before us is still more wonderfully graphic and real in its descriptions both of scenery and persons; the characters are equally vividly marked and distinctly sustained, and the dialogue (a merit, and a great one, which we have omitted to notice above) is quite as spirited and natural as in the former production. But it has one great fault, which will, we think, with novelreaders, render it less popular than its predecessor, and which is, in truth, a great lessening of the interest which might be given to the work,-we mean the almost total want of story. The chief purport of ، The Pioneers', (by which name, it seems, the early clearers of the American woods were distinguished,) is to give a representation of the peopling, manners, and pursuits of a back-settlement in its commencement,-and nothing, certainly, can be more admirably effected than this. But