prose and verse; Shiel, with his eloquently descriptive pen, the author of the greater part of the "Sketches of the Irish Bar;" his gifted countrywoman, Lady Morgan, contributing charming chapters` on "Old Dublin" and more modern "Strawberry Hill;" her husband. Sir Charles, serious and useful, though a thought too heavy; Poole, with liveliness enough to float a folio; John O'Keefe, the veteran dramatist, cheerfully narrating the events of his chequered life; and a crowd of writers beside, who shrouded their gaieties and gravities beneath initials and pseudonyms whose mystery it is needless now to pierce. During this period, also, were several poetical contributors, one of whom, Joanna Baillie, had already taken her place in the literature of her country; and the names of others, amongst them Mrs. Hemans, Miss Costello, and Miss Landon (L. E. L.), were destined also to endure. Nor should the results of these ten years be told without reference being made to Cyrus Redding, the editor's other self, whose skill and industry moulded the Magazine into a real, readable shape. This gentleman, we are happy to state, is even now connected with it.
In 1830, Campbell retired from the editorship, and his place was supplied by Mr. Edward Lytton Bulwer (now Sir Bulwer Lytton), but under whichever designation one of the leading novelists of England.—About the same period, however, Mr. Bulwer had just entered parliament, and he found it difficult to avoid infusing a political element into that which would have thriven better had it been distinguished only by its purely literary character. This circumstance led to his abdication after a reign of one year and nine months, but during his sway, several first-rate contributors were added to the New Monthly, including Lord Normanby—on the verge of bidding adieu to his literary career for a more brilliant political one,—Archdeacon Wrangham, the elegant Latinist,—Elliott, the Corn Law Rhymer,—Thomas Colley Grattan, popular from his "Highways and Byways,"—Banim, the Irish novelist,—Haynes Bayly, the lightest songster of his day,—Miss Mitford, Mrs. C. Gore, Mary Howitt, Lady Blessinoton, who supplied a new attraction in her "Conversations with Lord Byron,"—Galt, and Mr. Benjamin Disraeli, who maintained the reputation of "Vivian Grey" and "Contarini Fleming" by the brilliant audacity of "Ixion in Heaven" and the "Infernal Marriage." This was the era of Magazine portraiture, and besides that of the Editor himself, appeared—strikingly contrasted—the likenesses of Lord Brougham and the Hon. Mrs. Norton, with the fresh wreath of "Rosalie" round her brow,—and of Bayly, Poole, Miss Mitford, and one or two more.
In 1834, Theodore Hook broke ground in a new direction, publishing as a serial in the New Monthly one of his admirable comic novels. He began with "Gilbert Gurnev," and a few years later—in 1840—when he undertook the actual duties of editorship—produced "Fathers and Sons,"—the last of his works. In the interim, he contributed occasional papers, and while his connexion with the Magazine lasted, additional force flowed in from various quarters. Thus, in 1834, Mrs. Norton and Mrs. S. C. Hall joined the New Monthly. In the following year, Laman Blanchard—a name never breathed without a sigh by those who knew him—put on for the first time the mantle of "Elia," and worthily wore it to the end. In 1836, were added N. P. Willis, fresh from his "Pencillings," Leitoh Ritchie, Savage Landor, and Charles Swain, of whom Manchester is now so deservedly proud. The year 1837 was fruitful in Douglas Jerrold, overflowing with the sharp satire and epi-
