In the grey square turret swinging,
With a deep sound, to and fro,
Heavily to the heart they go.

These romances belong to the same period of the author's poetic career as
the first two cantos of _Childe Harold_. They followed one another like
brilliant fireworks. They all exhibit a command of words, a sense of
melody, and a flow of rhythm and rhyme, which mastered Moore and even
Scott on their own ground. None of them are wanting in passages, as "He
who hath bent him o'er the dead," and the description of Alp leaning
against a column, which strike deeper than any verse of either of those
writers. But there is an air of melodrama in them all. Harmonious delights
of novel readers, they will not stand against the winnowing wind of
deliberate criticism. They harp on the same string, without the variations
of a Paganini. They are potentially endless reproductions of one phase of
an ill-regulated mind--the picture of the same quasi-melancholy vengeful
man, who knows no friend but a dog, and reads on the tombs of the great
only "the glory and the nothing of a name," the exile who cannot flee from
himself, "the wandering outlaw of his own dark mind," who has not loved
the world nor the world him,--

Whose heart was form'd for softness, warp'd by wrong,
Betray'd too early, and beguiled too long--

all this, _decies repetita_, grows into a weariness and vexation. Mr.
Carlyle harshly compares it to the screaming of a meat-jack. The reviewers
and the public of the time thought differently. Jeffrey, penitent for the
early _faux pas_ of his _Review_, as Byron remained penitent for his
answering assault, writes of _Lara_, "Passages of it may be put into