istence. He composed a beautiful ode to the keeper of the tavern where they assemble, of which we can not at present quote more than the three opening stanzas: Let Dandies to M'Culloch go, And Ministers to Fortune's hall; In John M'Phails let lawyers crow, Pictures and prints alike within his reach. He is, in short, a most uncommon man; That peerless master of the modern brush, And, bating Artists, liked by everybody. Then touched I off friend Lockhart (Gibson John), All High Dutch quacks, like Spurzheim or Feinagle.- The claws, but not the pinions, of the eagle, Par nobile, the Schetkys next I hit, -Gibson (who t'other day had changed his lot;) You've seen his etching, sure, of Walter Scott. Wears spectacles, is sly, and keen, and witty. Next Peter Hill-you might be sure of that. Next one, whom if you know not, more's the pity- These places seem to me so so, I love Bill Young's above them all. One only rival, honest Bill, I mean Ben Waters, charming Ben, Dear Ben! dear Bill! I love you both, Odoherty's Acquaintance with and Stanzas to Hogg, the Ettrick Shepherd- THE Ode to Messrs. Young and Waters, with part of which we closed our last chapter of Mr. Odoherty's life, has a merit * M'Culloch, Fortune, Oman, M'Phail, Young, and Waters were respectively keepers of hotels and taverns in Edinburgh, in 1818.-M. This third chapter was published in Blackwood's Magazine, April 1818. Part of it, I am persuaded, was interpolated in Edinburgh, because Maginn did not visit that city until 1821, and, therefore, could not have hað the requisite local and personal knowledge with which the poems are imbued. Yet, some years later, in his famous "Maxims of Odoherty," certainly written by Maginn, the concluding stanzas on tobacco, as a "Divine invention of the age of Bess," are especially and complacently alluded to as his own. Mr. Gillies, in his "Memoirs of a Literary Veteran," states that the life of Odoherty was. written by the late Captain Hamilton and was the first literary composition which is far from being common among modern lyrics-it expresses the habitual feelings of the author. The composer of an ode, in these times, is usually obliged to throw himself out of his own person, into that of some individual placed in a situation more picturesque than has fallen to his own share―he is obliged to dismiss all recollection of his own papered parlor and writing-desk, and to imagine himself, pro tempore, a burning Indian, a dying soldier, or a love-sick young lady, as it may happen. He thus loses that intense air of personal emotion, which forms the principal charm in the stern heroics of Pindar, the elegant drinking songs of Horace, the gay chansons of Deshoulieres, and the luxurious erotics of Tom Moore.* Odoherty wrote of of one who subsequently obtained reputation by his "Youth and Manhood of Cyril Thornton," as a historian of the Peninsular War, and by his strange work, "Men and Manners in America." Without doubt, Hamilton could not have written the earlier portion of Odoherty's life in which there are so many allusions to Irish people. I believe that Maginn actually did write the greater part of Chapters III. and IV., and that the local hits were introduced by Hamilton and others. — Chapter IV., which did not appear until December, 1818, came out with a mystification in the form of an editorial note, as follows:"The gentleman who drew up the two first notices of this life, having died of an apoplexy some time ago, the notice which appeared in March [April?], and the present one, are by a different hand." Yet, Chapter IV. was unquestionably written by Maginn! In Blackwood's notices to correspondents, in the number for April, 1818 (that in which Chapter III. appeared), the following was to be found, 'Memoirs of Roderic Milesius O'Donoghue, late of Tralee, county Kerry, Ireland, first cousin to Ensign and Adjutant Morgan Odoherty,' are received, and will follow the life of his illustrious kinsman, which we hope to conclude in a few more Numbers." This was one of Maginn's promises;· his intention was to write an autobiography of an Irish gentleman, and a very curious composition it would have been, had he seriously proceeded with it. But not a line of it was ever published—nor, perhaps, ever written.—M. * It is scarcely necessary to do more than refer to three out of the four herenamed. Pindar, the most famous lyric poet of Greece, was born about 540 B. C., and died in his 55th year. When the Lacedæmonians took Thebes, in Boeotia (of which he was a native), they spared the house of the poet, as also did Alexander the Great.-Horace, eminently the most elegant of all the Roman poets (such as we may fancy might be the result of a fusion of Pope and Moore, whereby philosophy, satire, and gaiety would be combined in one person), achieved a living popularity which Time has confirmed. He was born 65 B.C., and died in the year of Rome, 756, and 9 B.C., aged 56.-Moore, the poet of Ireland, truly designated by Shelley, as "The sweetest lyrist of her saddest song," Young and Waters in his own person the feelings which he has embodied in verse, are the daily, or rather nightly, visitants of his own bosom. If truth and nature form the chief excellence of poetry, our hero may take his place among the most favored children of the muse. Those taverns were, however, far from being the scenes of mere merriment and punch-drinking. The bowl was seasoned with the conversation of associates, of whom it is sufficient to say, that they were indeed worthy to sit at the board with Ensign and Adjutant Odoherty. The writer of this has no personal knowledge of these distinguished persons, but from the letters and poems of the Ensign's, composed during his stay in Edinburgh, it is evident, that those upon whom he set most value, were the following gentlemen: James Hogg, Esq., the celebrated author of "The Queen's Wake," "Pilgrims of the Sun," "Mador of the Moor," and other well-known poems.* was born in Dublin, on the 28th May, 1779 (as he states in the fragment of his Autobiography), and died at Sloperton Cottage, Wiltshire, England, on Feb. 26, 1852. — Beranger is, perhaps, the only modern song-writer, who can be named as a worthy rival. But the chansons of the French poets are rather to be read than sung, whereas Moore's are imbued with the true melody and sentiment of music. — Antoinette du Ligier Deshouliéres, a very versatile writer, and a handsome, accomplished, and witty woman, was born at Paris, in 1634; married a gentleman of family, and was on terms of friendship with the principal literati of the age. She produced numerous plays and operas — few of which were successful. Her Idyls, Eclogues, and Moral Reflections were more fortunate, and are still admired. She died, after twelve years of suffering, from a cancer in her breast, in 1694. It seems somewhat out of place to name Deshoulieres in the same sentence with Horace and Moore, as she was a more didactic and less sportive writer than either.-M. * Beyond all doubt, James Hogg, commonly called "The Ettrick Shepherd,” was as remarkable a literary phenomenon as ever lived. He has been compared with Burns, but the latter had received the ordinary education of a Scottish peasant, could read and write correctly, besides having some knowledge of French; whereas, Hogg never received more than half a year's schooling, and that before he was seven years' old. Hogg was born on the 25th of January, 1772-the anniversary also of the natal day of Burns. His birth-place was an humble cottage on the banks of the small river Ettrick (a tributary of the Tweed), in one of the pleasant and secluded valleys in Selkirkshire, the most picturesque and mountainous district in the south of Scotland. His forefathers had been shepherds for many generations, and in this occupation James Hogg and his three brothers were brought up. Like nearly all Of this great man Odoherty always wrote with rapture-take the following specimen : men who have eminently distinguished themselves, he had the advantage of having had a mother of more than ordinary intellect. Her memory was filled with traditionary song, and particularly with the old Border ballads, which she loved to repeat to her children in a manner between chant and song-after her daily perusal, to them, of such portions of the Bible as she believed most likely to interest their minds and elevate their moral feelings. After a few months' attendance at school, Hogg was sent out into the world at the age of seven years, as an humble attendant on a few cows belonging to a neighboring farmer. In the winter months, when this occupation was intermitted, he tried to teach himself writing-but did not get beyond scrawling in a rude text-hand. To the last, even after practice had improved it, his caligraphy was imperfect and indecisive. Advancing in years, he became a shepherd, and was a careful and trustworthy one. At fourteen, when he had saved five shillings out of his wages, he bought an old violin, and taught himself to play. Next, he began to write verses—his mother encouraging his bias in that direction, and being the critic on his songs. Except the Bible, the life of Sir William Wallace, and Allan Ramsay's Gentle Shepherd, he had read nothing before his eighteenth year, when he became shepherd to Mr. Laidlaw, a Selkirkshire farmer, who allowed him the use of his library, which was rather extensive. He remained with Mr. Laidlaw from 1790 to 1800, and became a writer of songs about 1796-the year of Burns's death. Then, and always, he used to compose and correct in his mind before writing it down upon a slate. He had never even heard of Burns, until a year after that poet's death, when Tam O'Shanter was repeated to him; from that time the idea grew into his mind of trying to become a poet. William Laidlaw, his employer's son, encouraged him in writing poetry; and was himself eminently gifted, his beautiful lyric called Lucy's Flittin," being an especial favorite with Sir Walter Scott. It was through Laidlaw that Scott's attention was drawn to Hogg. The result was a determination tò prent a book,"—his prose Essay on Sheep had previously won the premium given by the Highland Society. Hogg printed a volume of ballads some of which, and particularly the song called "Donald MacDonald," became praised and popular. Introduced by Scott to Constable, the eminent Edinburgh publisher, in 1801, "The Mountain Bard" appeared; it consisted chiefly of pieces in the old ballad style, and though remarkable, from such a rude shepherd as Hogg then was, gave little promise of the excellence he soon after attained. He realized £300 by his book, and with this sum, which he considered immense, commenced sheep-farming, on his own account. After wasting all his money, and some years, in this speculation, he vainly attempted to resume his occupation as a shepherd-- but his reputation of being a poet and a ruined farmer operated so much against him that he could not obtain employment. He was now (in 1810), over thirty-eight years old, and has truly confessed that he "knew no more of human life or manners than a child." Constable published another volume for him, called “The |