Line 13.—'Pop goes the musketoons.' A learned friend suggested 'Bang' as a stronger expression, but as African gunpowder is notoriously bad, the author thought 'Pop' the better word.
Lines 15-18.—A concise but affecting description is here given of the domestic habits of the people. The infamous manner in which they are entrapped and sold as slaves is described, and the whole ends with an appropriate moral sentiment. The Poem might here finish, but the spirit of the bard penetrates the veil of futurity, and from it cuts off a bright piece for the hitherto unfortunate Africans, as the following beautiful lines amply exemplify.
It may perhaps be remarked that the Author has here 'changed his hand.' He answers that it was his intention to do so. Before, it was his endeavour to be elegant and concise, it is now his wish to be enthusiastic and magnificent. He trusts the Reader will perceive the aptness with which he has changed his style; when he narrated facts he was calm, when he enters on prophecy he is fervid.
The enthusiasm which he feels is beautifully expressed in lines 25 and 26. He thinks he has very successfully imitated in the last six lines the best manner of Mr. Pope; and in lines 12-26, the pathetic elegance of the author of 'Australasia and Athens.'
The Author cannot conclude without declaring that his aim in writing this Poem will be fully accomplished if he can infuse into the breasts of Englishmen a sense of the danger in which they lie. Yes—Africa! If he can awaken one particle of sympathy for thy sorrows, of love for thy land, of admiration for thy virtue, he shall sink into the grave with the proud consciousness that he has raised esteem, where before there was contempt, and has kindled the flame of hope on the mouldering ashes of despair!
CHAPTER IV.
Early Favourites—Fielding's 'Joseph Andrews'—Imitators of Fielding—'The Adventures of Captain Greenland'—'Jack Connor'—'Chrysal, or the Adventures of a Guinea.'
Thackeray's references to his favourite novels, and his liking, which assumed a sort of personal regard, for the authors who had given him pleasure, especially in youth, occur constantly throughout his writings, both early and late.
