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diff --git a/11258-h/11258-h.htm b/11258-h/11258-h.htm new file mode 100644 index 0000000..683d0d5 --- /dev/null +++ b/11258-h/11258-h.htm @@ -0,0 +1,1183 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> + <meta http-equiv="Content-Type" content="text/html; +charset=UTF-8" /> + + <title>The Mirror of Literature, Issue 407.</title> + + <style type="text/css"> + <!-- + body {margin-left: 10%; margin-right: 10%;} + p {text-align: justify;} + blockquote {text-align: justify;} + h1,h2,h3,h4,h5,h6 {text-align: center;} + pre {font-size: 0.7em;} + + hr {text-align: center; width: 50%;} + html>body hr {margin-right: 25%; margin-left: 25%; width: 50%;} + hr.full {width: 100%;} + html>body hr.full {margin-right: 0%; margin-left: 0%; width: 100%;} + + .note, .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + + span.pagenum {position: absolute; left: 1%; right: 91%; font-size: 8pt;} + + .poem {margin-left:10%; margin-right:10%; margin-bottom: 1em; text-align: left;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem p.i2 {margin-left: 1em;} + .poem p.i8 {margin-left: 8em;} + + .figure {padding: 1em; margin: 0; text-align: center; font-size: 0.8em; margin: auto;} + .figure img {border: none;} + .figure p + --> + </style> +</head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 11258 ***</div> + + <hr class="full" /> +<span class="pagenum"><a id="pagei" name="pagei"></a>[pg i]</span> + + <h1>THE MIRROR<br /> + OF<br /> + LITERATURE, AMUSEMENT, AND INSTRUCTION.</h1> + <hr class="full" /> + + <table width="100%" summary="Banner"> + <tr> + <td align="left"><b>Vol. XIV. No. 407.]</b></td> + <td align="center"><b>DECEMBER 24, 1829.</b></td> + <td align="right"><b>[PRICE 2d.</b></td> + </tr> + </table> + <hr class="full" /> + +<center> +CONTAINING</center> +<h3> +ORIGINAL ESSAYS</h3> + +<center> +HISTORICAL NARRATIVES; BIOGRAPHICAL MEMOIRS; SKETCHES OF +SOCIETY; TOPOGRAPHICAL DESCRIPTIONS; NOVELS +AND TALES; ANECDOTES;</center> +<h3> +SELECT EXTRACTS</h3> +<center> +FROM</center> +<h3> +NEW AND EXPENSIVE WORKS;</h3> +<center> +<i>POETRY, ORIGINAL AND SELECTED;</i></center> +<h3> +The Spirit of the Public Journals;</h3> +<center> +DISCOVERIES IN THE ARTS AND SCIENCES; +<br/> +<i>USEFUL DOMESTIC HINTS;</i> +<br/> +<i>&c. &c. &c.</i> +</center> +<hr/> +<h3> +VOL. XIV.</h3> + +<hr/> +<h3> +London,</h3> +<center> +PRINTED AND PUBLISHED BY J. LIMBIRD, 143, STRAND, +<br/> +(<i>Near Somerset House</i>.) +</center> +<hr/> +<center> +1829.</center> + +<hr class="full" /> +<p><span class="pagenum"><a id="pageii" name="pageii"></a>[pg ii]</span></p> + + + +<h2> +PREFACE</h2> + +<hr/> +<p> +Wassailing, prefaces, and waits, are nearly at a stand-still; and in +these days of universality and everything, we almost resolved to leave +this page blank, and every reader to write his own preface, had we not +questioned whether the custom would be more honoured in the breach than +the observance. +</p><p> +My Public—that is, our readers—we have served you seven years, through +fourteen volumes; in each renewing our professions of gratitude, and +study for your gratification; and we hope we shall not presume on your +liberal disposition by calculating on your continued patronage. We have +endeavoured to keep our engagements with you—<i>to the letter</i><a id="footnotetag1" name="footnotetag1"></a><a href="#footnote1"><sup>1</sup></a>—as +they say in weightier matters; and, as every man is bound to speak of +the fair as he has found his market in it, we ought to acknowledge the +superabundant and quick succession of literary novelties for the present +volume. There is little of our own; because we have uniformly taken Dr. +Johnson's advice in life—"to play for much, and stake little" This will +extenuate our assuming that "from castle to cottage we are regularly +taken in:" indeed, it would be worse than vanity to suppose that price +or humble pretensions should exclude us; it would be against the very +economy of life to imagine this; and we are still willing to abide by +such chances of success. +</p> +<p> +Cheap Books, we hope, will never be an evil; for, as "the same care and +toil that raise a dish of peas at Christmas, would give bread to a whole +family during six months;" so the expense of a gay volume at this season +will furnish a moderate circle with amusive reading for a twelvemonth. +We do not draw this comparison invidiously, but merely to illustrate the +advantages of literary economy. +</p><p> +The number <i>Seven</i>—the favourite of Swift, (and how could it be +otherwise than odd?) has, perhaps, led us into this rambling monologue +on our merits; but we agree with Yorick in thinking gravity an errant +scoundrel. +</p><p> +<span class="pagenum"><a id="pageiii" name="pageiii"></a>[pg iii]</span> +A proportionate Index will guide our accustomed readers to any +particular article in the present volume; but for those of shorter +acquaintance, a slight reference to its principal points may be useful. +Besides, a few of its delights may have been choked by weeds and +crosses, and their recollection lost amidst the lights and shadows +of busy life. +</p><p> +The zeal of our Correspondents is first entitled to honourable mention; +and many of their contributions to these pages must have cost them much +time and research; for which we beg them to accept our best thanks. +</p><p> +Of the Selections, generally, we shall only observe, that our aim has +been to convey information and improvement in the most amusing form. +When we sit down to the pleasant task of cutting open—not cutting +<i>up</i>—a book, we say, "If this won't turn out something, another will; +no matter—'tis an essay upon human nature. (We) get (our) labour for +(our) pains—'tis enough—the pleasure of the experiment has kept (our) +senses, and the best part of (our) blood awake, and laid the gross to +sleep." In this way we find many good things, and banish the rest; +we attempt to "boke something new," and revive others. Thus we have +described the Siamese Twins in a single number; and in others we +have brought to light many almost forgotten antiquarian rarities. +</p><p> +Of Engravings, Paper, and Print, we need say but little: each speaks +<i>primâ facie,</i> for itself. Improvement has been studied in all of +them; and in the Cuts, both interest and execution have been cardinal +points. Milan Cathedral; Old Tunbridge Wells and its Old Visitors; +Clifton; Gurney's Steam Carriage; and the Bologna Towers; are perhaps +the best specimens: and by way of varying architectural embellishments, +a few of the Wonders of Nature have been occasionally introduced. +</p><p> +Owen Feltham would call this "a cart-rope" Preface: therefore, with +promises of future exertion, we hope our next Seven Years may be as +successful as the past. +</p><p> +143, <i>Strand, Dec.</i> 24, 1829. +</p> + +<p><span class="pagenum"><a id="pageiv" name="pageiv"></a>[pg iv]</span></p> + +<div class="figure" style="width: 100%;"> + <a href="images/407-1.png"><img width="100%" src="images/407-1.png" +alt="Thomas Campbell, Esq." /></a> + </div> + +<p><span class="pagenum"><a id="pagev" name="pagev"></a>[pg v]</span></p> + + + +<h3> +MEMOIR OF THOMAS CAMPBELL, ESQ.</h3> + +<p> +Of the subject of this memoir, it has been remarked, "that he has not, +that we know of, written one line, which, dying, he could wish to blot." +These few words will better illustrate the fitness of Mr. Campbell's +portrait for our volume, than a laudatory memoir of many pages. He has +not inaptly been styled the Tyrtaeus of modern English poetry, and one +of the most chaste and tender as well as original of poets. He owes less +than any other British poet to his predecessors and contemporaries. +He has lived to see his lines quoted like those of earlier poets in the +literature of his day, lisped by children, and sung at public festivals. +The war-odes of Campbell have scarcely anything to match them in-the +English language for energy and fire, while their condensation and the +felicitous selection of their versification are in remarkable harmony. +Campbell, in allusion to Cymon, has been said to have "conquered both +on land and sea," from his Naval Odes and "Hohenlinden" embracing both +scenes of warfare. +</p><p> +Scotland gave birth to Thomas Campbell. He is the son of a second +marriage, and was born at Glasgow, in 1777. His father was born in 1710, +and was consequently nearly seventy years of age when the poet, his son, +was ushered into the world. He was sent early to school, in his native +place, and his instructor was Dr. David Alison, a man of great celebrity +in the practice of education. He had a method of instruction in the +classics purely his own, by which he taught with great facility, and +at the same time rejected all harsh discipline, substituting kindness +for terror, and alluring rather than compelling the pupil to his duty. +Campbell began to write verse when young; and some of his earliest +attempts at poetry are yet extant among his friends in Scotland. For his +place of education he had a great respect, as well as for the memory of +his masters, of whom he always spoke in terms of great affection. He was +twelve years old when he quitted school for the University of Glasgow. +There he was considered an excellent Latin scholar, and gained high +honour by a contest with a candidate twice as old as himself, by which +he obtained a bursary. He constantly bore away the prizes, and every +fresh success only seemed to stimulate him to more ambitious exertions. +In Greek he was considered the foremost student of his age; and some +of his translations are said to be superior to any before offered for +competition in the University. While there he made poetical paraphrases +of the most celebrated Greek poets; of Aeschylus, Sophocles, and +Aristophanes, which were thought efforts of extraordinary promise. +Dr. Millar at that time gave philosophical lectures in Glasgow. He was +a highly gifted teacher, and excellent man. His lectures attracted the +attention of young Campbell, who became his pupil, and studied with +eagerness the principles of sound philosophy; the poet was favoured +with the confidence of his teacher, and partook much of his society. +</p> +<p> +<span class="pagenum"><a id="pagevi" name="pagevi"></a>[pg vi]</span> +Campbell quitted Glasgow to remove into Argyleshire, where a situation +in a family of some note was offered and accepted by him. It was in +Argyleshire,<a id="footnotetag2" name="footnotetag2"></a><a href="#footnote2"><sup>2</sup></a> among the romantic mountains of the north, that his +poetical spirit increased, and the charms of verse took entire +possession of his mind. Many persons now alive remember him wandering +there alone by the torrent, or over the rugged heights of that wild +country, reciting the strains of other poets aloud, or silently +composing his own. Several of his pieces which he has rejected in his +collected works, are handed about in manuscript in Scotland. We quote +one of these wild compositions which has hitherto appeared only in +periodical publications. +</p> +<hr/> + +<h3> +DIRGE OF WALLACE.</h3> + +<div class="poem"><div class="stanza"> +<p>They lighted a taper at the dead of night,</p> +<p class="i2"> And chanted their holiest hymn;</p> +<p>But her brow and her bosom were damp with affright</p> +<p class="i2"> Her eye was all sleepless and dim!</p> +<p>And the lady of Elderslie wept for her lord,</p> +<p class="i2"> When a death-watch beat in her lonely room,</p> +<p>When her curtain had shook of its own accord;</p> +<p class="i2"> And the raven had flapp'd at her window-board,</p> +<p>To tell of her warrior's doom!</p> +</div><div class="stanza"> +<p class="i2"> Now sing you the death-song, and loudly pray</p> +<p class="i2"> For the soul of my knight so dear;</p> +<p>And call me a widow this wretched day,</p> +<p class="i2"> Since the warning of God is here!</p> +<p>For night-mare rides on my strangled sleep:</p> +<p class="i2"> The lord of my bosom is doomed to die:</p> +<p>His valorous heart they have wounded deep;</p> +<p>And the blood-red tears shall his country weep,</p> +<p class="i2"> For Wallace of Elderslie!</p> +</div><div class="stanza"> +<p>Yet knew not his country that ominous hour,</p> +<p class="i2"> Ere the loud matin bell was rung,</p> +<p>That a trumpet of death on an English tower</p> +<p class="i2"> Had the dirge of her champion sung!</p> +<p>When his dungeon light look'd dim and red</p> +<p class="i2"> On the high-born blood of a martyr slain,</p> +<p>No anthem was sung at his holy death-bed;</p> +<p>No weeping was there when his bosom bled—</p> +<p class="i2"> And his heart was rent in twain!</p> +</div><div class="stanza"> +<p>Oh, it was not thus when his oaken spear</p> +<p class="i2"> Was true to that knight forlorn;</p> +<p>And the hosts of a thousand were scatter'd like deer,</p> +<p class="i2"> At the blast of the hunter's horn;</p> +<p>When he strode on the wreck of each well-fought field</p> +<p class="i2"> With the yellow-hair'd chiefs of his native land;</p> +<p>For his lance was not shiver'd on helmet or shield—</p> +<p>And the sword that seem'd fit for Archangel to wield,</p> +<p class="i2"> Was light in his terrible hand!</p> +</div><div class="stanza"> +<p>Yet bleeding and bound, though her Wallace wight</p> +<p class="i2"> For his long-lov'd country die,</p> +<p>The bugle ne'er sung to a braver knight</p> +<p class="i2"> Than Wallace of Elderslie!</p> +<p>But the day of his glory shall never depart,</p> +<p class="i2"> His head unentomb'd shall with glory be balm'd,</p> +<p>From its blood-streaming altar his spirit shall start;</p> +<p>Though the raven has fed on his mouldering heart,</p> +<p class="i2"> A nobler was never embalm'd!</p> +</div></div> + +<p> +From Argyleshire, where his residence was not a protracted one, Campbell +removed to Edinburgh. There he soon became introduced to some of +<span class="pagenum"><a id="pagevii" name="pagevii"></a>[pg vii]</span> +the +first men of the age, whose friendship and kindness could not fail +to stimulate a mind like that of Campbell. He became intimate with the +late Dugald Stewart; and almost every other leading professor of the +University of Edinburgh was his friend. While in Edinburgh, he brought +out his celebrated "Pleasures of Hope," at the age of twenty-one. It is +perhaps not too much to say of this work, that no poet of this country +ever produced, at so early an age, a more elaborate and finished +performance. For this work, which for twenty years produced the +publishers between two and three hundred pounds a year, the author +received at first but £10, which was afterwards increased by an +additional sum, and by the profits of a quarto edition of the work. By +a subsequent act of the legislature, extending the term of copyright, +it reverted again to the author; but with no proportional increase of +profit. Campbell's pecuniary circumstances are said to have been by no +means easy at this time and a pleasant anecdote is recorded of him, in +allusion to the hardships of an author's case, somewhat similar to his +own: he was desired to give a toast at a festive moment when the +character of Napoleon was at its utmost point of disesteem in England. +He gave "Bonaparte." The company started with astonishment. "Gentlemen," +said he, "here is Bonaparte in his character of executioner of the +booksellers." Palm, the bookseller, had just been executed in Germany, +by the orders of the French. +</p><p> +After residing nearly three years in Edinburgh, Campbell quitted his +native country for the Continent. He sailed for Hamburgh, and there made +many acquaintances among the more enlightened circles, both of that +city and Altona. At that time there were numerous Irish exiles in the +neighbourhood of Hamburgh, and some of them fell in the way of the +poet, who afterwards related many curious anecdotes of them. There +were sincere and honest men among them, who, with the energy of their +national character, and enthusiasm for liberty, had plunged into the +desperate cause of the rebellion two years before, and did not, even +then, despair of freedom and equality in Ireland. Some of them were +in private life most amiable persons, and their fate was altogether +entitled to sympathy. The poet, from that compassionate feeling which +is an amiable characteristic of his nature, wrote <i>The Exile of Erin</i>, +from the impression their situation and circumstances made upon his +mind. It was set to an old Irish air, of the most touching pathos, +and will perish only with the language. +</p><p> +Campbell travelled over a great part of Germany and Prussia—visiting +the Universities, and storing his mind with German literature. From +the walls of a convent he commanded a view of part of the field of +Hohenlinden during that sanguinary contest, and proceeded afterwards in +the track of Moreau's army over the scene of combat. This impressive +sight produced the <i>Battle of Hohenlinden</i>—an ode which is as +original as it is spirited, and stands by itself in British literature. +The poet tells a story of the phlegm of a German postilion at this time, +who was driving him post by a place where a skirmish of cavalry had +happened, and who alighted and disappeared, leaving the carriage and the +traveller alone in the cold (for the ground was covered with snow) for +a considerable space of time. At length he came back; and it was found +that he had been employing himself in cutting off the long tails of the +slain horses, which he coolly placed on the vehicle, and drove on his +route. Campbell was also in Ratisbon when the French and Austrian +treaty saved it from bombardment. +</p><p> +In Germany Campbell made the friendship of the two Schlegels, of many of +the first literary and political characters, and was fortunate enough to +pass an entire day with the venerable Klopstock, who died just two years +afterwards. The proficiency of Campbell in the German language was +rendered very considerable by this tour, and his own indefatigable +perseverance in study. His travels in Germany occupied him thirteen +months; when he returned to England, and, for the first time, visited +London. He soon afterwards composed those two noble marine odes, <i>The +Battle of the Baltic,</i> and +<span class="pagenum"><a id="pageviii" name="pageviii"></a>[pg viii]</span> +<i>Ye Mariners of England</i>, which, with his +<i>Hohenlinden</i>, stand unrivalled in the English tongue; and though, +as Byron lamented, Campbell has written so little, these odes alone are +enough to place him unforgotten in the shrine of the Muses. +</p><p> +In 1803 the poet married Miss Sinclair, a lady of Scottish descent, and +considerable personal beauty, but of whom he was deprived by death in +1828. He resided at Sydenham, and the entire neighbourhood of that +pleasant village reckoned itself in the circle of his friends; nor did +he quit his suburban retreat until, in 1821, literary pursuits demanded +his residence in the metropolis. It was at Sydenham, in a house nearly +facing the reservoir, that the poet produced his greatest work, +<i>Gertrude of Wyoming</i>, written in the Spenserian stanza. About the +same time Campbell was appointed Professor of Poetry in the Royal +Institution, where he delivered lectures which have since been +published. He also undertook the editorship of <i>Selections from the +British Poets</i>, intended as specimens of each, and accompanied with +critical remarks.<a id="footnotetag3" name="footnotetag3"></a><a href="#footnote3"><sup>3</sup></a> +</p> +<p> +Soon after the publication of his "Specimens," he revisited Germany, and +passed some time in Vienna, where he acquired a considerable knowledge +of the Austrian court and its manners. He remained long at Bonn, where +his friend, W.A. Schlegel, resides. Campbell returned to England in +1820, to undertake the editorship of the <i>New Monthly Magazine</i>, +and coupled with his name, it has risen to a very extensive circulation. +In 1824, Campbell published his "Theodric, a Domestic Tale," the least +popular of his works. +</p><p> +By his marriage Campbell had two sons. One of them died before attaining +his twentieth year; the other, while in the University of Bonn, where +he was placed for his education, exhibited symptoms of an erring mind, +which, on his return to England soon afterwards, ripened into mental +derangement of the milder species. After several years passed in this +way, during which the mental disease considerably relaxed, so that young +Campbell became wholly inoffensive, and his father received him into his +house. The effect of this upon a mind of the most exquisite sensibility +like the poet's, may be readily imagined: it was, at times, a source of +the keenest suffering. +</p><p> +We must now allude to an event in Campbell's life, which will ensure him +the gratitude of ages to come: we mean as the originator of the London +University. Four years before it was made public, the idea occurred +to him, from his habit of visiting the Universities of Germany, and +studying their regulations. He communicated it at first to two or three +friends, until his ideas upon the subject became matured, when they +were made public, and a meeting upon the business convened in London, +which Mr. Campbell addressed, and where the establishment of such an +institution met the most zealous support. Once in operation, several +public men of high talent, headed by Mr. Brougham, lost not a moment +in forwarding the great and useful object in view. The undertaking was +divided into shares, which were rapidly taken; but Mr. Campbell left the +active arrangements to others, and contented himself with attending the +committees. With unexampled rapidity the London University has been +completed, or nearly so, and Campbell has had the satisfaction of seeing +his projected instrument of education almost in full operation in less +than three years after he made the scheme public. Although one of the +most important,<a id="footnotetag4" name="footnotetag4"></a><a href="#footnote4"><sup>4</sup></a> this is not the only public-spirited event of this +description, in Mr. Campbell's life; for he was instrumental in the +establishment of the Western Literary Institution, in Leicester Square; +and at the present time he is, we believe, in conjunction with other +eminent literary men, organizing a club to be entitled the Literary +Union, whose lists already contain upwards of 300 men of talent, +including Sir Walter Scott and all the principal periodical writers +of the day. +</p> +<p> +<span class="pagenum"><a id="pageix" name="pageix"></a>[pg ix]</span> +Campbell, as has already been observed, was educated at Glasgow, and +received the honour of election as Lord Rector, three successive years, +notwithstanding the opposition of the professors, and the excellent +individuals who were placed against him; among whom were the late +minister Canning, and Sir Walter Scott. The students of Glasgow College +considered that the celebrity of the poet, his liberal principles, his +being a fellow-townsman, and his attention to their interests, entitled +him to the preference. +</p><p> +In person, Mr. Campbell is below the middle stature, well made, +but slender. His features indicate great sensibility; his eyes are +particularly striking, and of a deep blue colour; his nose aquiline; +his expression generally saturnine. His step is light, but firm; and +he appears to possess much more energy of constitution than men of +fifty-two who have been studious in their habits, exhibit in general. +His time for study is mostly during the stillness of night, when he +can be wholly abstracted from external objects. He is remarkable for +absence of mind; is charitable and kind in his disposition, but of quick +temper. His amusements are few; the friend and conversation only; and +in the "flow of soul" there are few men possessing more companionable +qualities. His heart is perhaps one of the best that beats in a human +bosom: "it is," observes a biographer, "that which should belong to +the poet of <i>Gertrude,</i> his favourite personification." +</p><p> +To exhibit the poet in the social circle, as well as to introduce a very +piquant portrait, drawn by a friend, we subjoin a leaf or two from Leigh +Hunt's <i>Lord Byron and some of his Contemporaries</i><a id="footnotetag5" name="footnotetag5"></a><a href="#footnote5"><sup>5</sup></a>—displaying +all the graphic ease for which Mr. Hunt is almost without a rival:— +</p> +<p> +I forget how I became acquainted with Mr. Hill, proprietor of the +<i>Monthly Mirror;</i> but at his house at Sydenham I used to meet his +editor, Mr. Dubois, Mr. Campbell, who was his neighbour, and the two +Smiths, authors of <i>The Rejected Addresses.</i> Once or twice I saw +also Mr. Theodore Hook, and Mr. Matthews, the comedian. Our host (and +I thought him no older the other day than he was then) was a jovial +bachelor, plump and rosy as an abbot: and no abbot could have presided +over a more festive Sunday. The wine flowed merrily and long; the +discourse kept pace with it; and next morning, in returning to town, +we felt ourselves very thirsty. A pump by the road side, with a plash +round it, was a bewitching sight. +</p><p> +"They who know Mr. Campbell only as the author of <i>Gertrude of +Wyoming</i> and the <i>Pleasures of Hope,</i> would not suspect him to +be a merry companion, overflowing with humour and anecdote, and any +thing but fastidious. These Scotch poets have always something in +reserve: it is the only point in which the major part of them resemble +their countrymen. The mistaken character which the lady formed of +Thomson from his <i>Seasons</i> is well known. He let part of the secret +out in his <i>Castle of Indolence;</i> and the more he let out, the more +honour he did to the simplicity and cordiality of the poet's nature, +though not always to the elegance of it. Allan Ramsay knew his friends +Gay and Somerville as well in their writings, as he did when he came to +be personally acquainted with them; but Allan, who had bustled up from +a barber's shop into a bookseller's, was 'a cunning shaver;' and nobody +would have guessed the author of the <i>Gentle Shepherd</i> to be +penurious. Let none suppose that any insinuation to that effect is +intended against Mr. Campbell: he is one of the few men whom I could at +any time walk half-a-dozen miles through the snow to spend an afternoon +with; and I could no more do this with a penurious man than I could +with a sulky one. I know but of one fault he has, besides an extreme +cautiousness in his writings; and that one is national, a matter of +words, and amply overpaid by a stream of conversation, lively, piquant, +and liberal—not the less interesting for occasionally betraying an +intimacy with pain, and for a high and somewhat strained tone of voice, +<span class="pagenum"><a id="pagex" name="pagex"></a>[pg x]</span> +like a man speaking with suspended breath, and in the habit of subduing +his feelings. No man, I should guess, feels more kindly towards his +fellow-creatures, or takes less credit for it. When he indulges in doubt +and sarcasm, and speaks contemptuously of things in general, he does it, +partly, no doubt, out of actual dissatisfaction, but more perhaps than +he suspects, out of a fear of being thought weak and sensitive—which is +a blind that the best men very commonly practise. Mr. Campbell professes +to be hopeless and sarcastic, and takes pains all the while to set up an +university. +</p><p> +"When I first saw this eminent person, he gave me the idea of a French +Virgil: not that he is like a Frenchman, much less the French translator +of Virgil. I found him as handsome as the Abbé Delille is said to have +been ugly. But he seemed to me to embody a Frenchman's ideal notion of +the Latin poet; something a little more cut and dry than I had looked +for; compact and elegant, critical and acute, with a consciousness of +authorship upon him; a taste over-anxious not to commit itself, and +refining and diminishing nature as in a drawing-room mirror. This fancy +was strengthened in the course of conversation, by his expatiating on +the greatness of Racine. I think he had a volume of the French Tragedian +in his hand. His skull was sharply cut and fine; with plenty, according +to the phrenologists, both of the reflective and amative organs; and his +poetry will bear them out. For a lettered solitude and a bridal properly +got up, both according to law and luxury, commend us to the lovely +<i>Gertrude of Wyoming</i>. His face and person were rather on a small +scale; his features regular; his eye lively and penetrating; and when he +spoke, dimples played about his mouth, which nevertheless had something +restrained and close in it. Some gentle puritan seemed to have crossed +the breed, and to have left a stamp on his face, such as we often see +in the female Scotch face rather than the male. But he appeared not +at all grateful for this; and when his critiques and his Virgilianism +were over, very unlike a puritan he talked! He seemed to spite his +restrictions; and out of the natural largeness of his sympathy with +things high and low, to break at once out of Delille's Virgil into +Cotton's, like a boy let loose from school. When I have the pleasure +of hearing him now, I forget his Virgilianisms, and think only of the +delightful companion, the unaffected philanthropist, and the creator +of a beauty worth all the heroines in Racine. +</p><p> +"Mr. Campbell has tasted pretty sharply of the good and ill of the +present state of society, and for a book-man has beheld strange sights. +He witnessed a battle in Germany from the top of a convent (on which +battle he has written a noble ode); and he saw the French cavalry enter +a town, wiping their bloody swords on the horses' manes. Not long ago he +was in Germany again, I believe to purchase books; for in addition to +his classical scholarship, and his other languages, he is a reader of +German. The readers there, among whom he is popular, both for his poetry +and his love of freedom, crowded about him with affectionate zeal; and +they gave him, what he does not dislike, a good dinner. There is one +of our writers who has more fame than he; but not one who enjoys a +fame equally wide, and without drawback. Like many of the great men in +Germany, Schiller, Wieland, and others, he has not scrupled to become +editor of a magazine; and his name alone has given it among all circles +a recommendation of the greatest value, and such as makes it a grace to +write under him. +</p><p> +"I have since been unable to help wishing, perhaps not very wisely, +that Mr. Campbell would be a little less careful and fastidious in what +he did for the public; for, after all, an author may reasonably be +supposed to do best that which he is most inclined to do. It is our +business to be grateful for what a poet sets before us, rather than to +be wishing that his peaches were nectarines, or his Falernian Champagne. +Mr. Campbell, as an author, is all for refinement and classicality, +not, however, without a great deal of pathos and luxurious fancy." +</p> +<p> +<span class="pagenum"><a id="pagexi" name="pagexi"></a>[pg xi]</span> +Mr. Campbell's literary labours are perhaps too well known and +estimated to require from us any thing more than a rapid enumeration of +the most popular, as supplementary to this brief memoir. In his studies +he exhibits great fondness for recondite subjects; and will frequently +spend days in minute investigations into languages, which, in the +result, are of little moment. But his ever-delightful theme is Greece, +her arts, and literature. There he is at home: it was his earliest, and +will, probably, be his latest study. There is no branch of poetry or +history which has reached us from the "mother of arts" with which he +is not familiar. He has severely criticised Mitford for his singular +praise of the Lacedaemonians at the expense of the Athenians, and his +preference of their barbarous laws to the legislation of the latter +people. His lectures on Greek Poetry have appeared, in parts, in the +<i>New Monthly Magazine</i>. He has also published <i>Annals of Great +Britain, from the Accession of George III. to the Peace of Amiens</i>; +and is the author of several articles on Poetry and Belles Lettres +in the <i>Edinburgh Encyclopoedia</i>. +</p><p> +Among his poetical works, the minor pieces display considerably more +energy than those of greater length. The <i>Pleasures of Hope</i> is +entitled to rank as a British classic; and his <i>Gertrude</i> is +perhaps one of the most chaste and delicate poems in the language. His +fugitive pieces are more extensively known. Some of them rouse us like +the notes of a war trumpet, and have become exceedingly popular; which +every one who has heard the deep rolling voice of Braham or Phillips in +<i>Hohenlinden</i>, will attest. Neither can we forget the beautiful +<i>Valedictory Stanzas</i> to John Kemble, at the farewell dinner to +that illustrious actor. Another piece, <i>the Last Man</i>, is indeed +fine—and worthy of Byron. Of Campbell's attachment to his native +country we have already spoken, but as a finely-wrought specimen of +this amiable passion we subjoin a brief poem: +</p> + +<hr/> +<h3> +LINES WRITTEN ON VISITING A SCENE IN ARGYLESHIRE.</h3> + +<div class="poem"><div class="stanza"> +<p>At the silence of twilight's contemplative hour,</p> +<p class="i2"> I have mused in a sorrowful mood,</p> +<p>On the wind-shaken weeds that embosom the bower,</p> +<p class="i2"> Where the home of my forefathers stood.</p> +<p>All ruin'd and wild is their roofless abode,</p> +<p>And lonely the dark raven's sheltering tree:</p> +<p>And travell'd by few is the grass-cover'd road,</p> +<p>Where the hunter of deer and the warrior trode</p> +<p class="i2"> To his hills that encircle the sea.</p> +</div><div class="stanza"> +<p>Yet wandering I found on my ruinous walk,</p> +<p class="i2"> By the dial-stone aged and green,</p> +<p>One rose of the wilderness left on its stalk,</p> +<p class="i2"> To mark where a garden had been.</p> +<p>Like a brotherless hermit, the last of its race,</p> +<p class="i2"> All wild in the silence of nature, it drew,</p> +<p>From each wandering sun-beam, a lonely embrace</p> +<p>For the night-weed and thorn overshadow'd the place,</p> +<p class="i2"> Where the flower of my forefathers grew.</p> +</div><div class="stanza"> +<p>Sweet bud of the wilderness! emblem of all</p> +<p class="i2"> That remains in this desolate heart!</p> +<p>The fabric of bliss to its centre may fall,</p> +<p class="i2"> But patience shall never depart!</p> +<p>Though the wilds of enchantment, all vernal and bright,</p> +<p class="i2"> In the days of delusion by fancy combined</p> +<p>With the vanishing phantoms of love and delight,</p> +<p>Abandon my soul, like a dream of the night,</p> +<p class="i2"> And leave but a desert behind.</p> +</div><div class="stanza"> +<span class="pagenum"><a id="pagexii" name="pagexii"></a>[pg xii]</span> +<p>Be hush'd, my dark spirit! For wisdom condemns</p> +<p class="i2"> When the faint and the feeble deplore;</p> +<p>Be strong as the rock of the ocean that stems</p> +<p class="i2"> A thousand wild waves on the shore!</p> +<p>Through the perils of chance, and the scowl of disdain,</p> +<p class="i2"> May thy front be unalter'd, thy courage elate!</p> +<p>Yea! even the name I have worshipp'd in vain</p> +<p>Shall awake not the sigh of remembrance again:</p> +<p class="i2"> To bear is to conquer our fate.</p> +</div></div> + +<p> +Of a similar description are his "Lines on revisiting a Scottish +River."<a id="footnotetag6" name="footnotetag6"></a><a href="#footnote6"><sup>6</sup></a></p> +<p> +Mr. Campbell contributes but little to the pages of the New Monthly +Magazine: still, what he writes is excellent, and as we uniformly +transfer his pieces to the <i>Mirror</i>, we need not recapitulate them. +The fame of Campbell, however, rests on his early productions, which, +though not numerous, are so correct, and have been so fastidiously +revised, that while they remain as standards of purity in the English +tongue, they sufficiently explain why their author's compositions are +so limited in number, "since he who wrote so correctly could not be +expected to write much." His Poetical pieces have lately been collected, +and published in two elegant library volumes, with a portrait esteemed +as an extremely good likeness. +</p><p> +A contemporary critic, speaking of the superiority of Campbell's minor +effusions, when compared with his larger efforts, observes, "His genius, +like the beautiful rays of light that illumine our atmosphere, genial +and delightful as they are when expanded, are yet without power in +producing any active or immediate effect. In their natural expansions +they sparkle to be sure, and sweetly shine; but it is only when +condensed, and brought to bear upon a limited space or solitary object, +that they acquire the power to melt, to burn, or to communicate their +fire to the object they are in contact with." Another writer says, "In +common with every lover of poetry, we regret that his works are so few; +though, when a man has written enough to achieve immortality, he cannot +be said to have trifled away his life. Mr. Campbell's poetry will find +its way wherever the English language shall be spoken, and will be +admired wherever it is known." +</p> +<hr class="full" /> +<span class="pagenum"><a id="page445" name="page445"></a>[pg 445]</span> + + + +<h2> +INDEX TO VOL. XIV.</h2> + +<hr/> +<p> +Abad and Ada, a Tale, 404.<br /> +Abydos, Siege of, 58.<br /> +Aeolipile, The, 102.<br /> +Agreeableness, 155.<br /> +Alexander the Great, 22.<br /> +American Aloe, 296.<br /> +American Poetess, Memoir of, 340.<br /> +Amulet, The, 331.<br /> +ANECDOTE GALLERY, The, 123—158—191—254—427.<br /> +Anniversary, by A.A. Watts, 423.<br /> +Annuals for 1830, 221—275—322 to 336, 369 to 384.<br /> +Antwerp Cathedral, Visit to, 286.<br /> +Apsley House, 33—50.<br /> +Argonaut, or Nautilus, 40.<br /> +Arnott's Elements of Physics, 430.<br /> +Autobiography of a Landaulet, 300—350.<br /> +</p><p> +Bachelor's Revenge, 245.<br /> +Bagley Wood Gipsies, 19.<br /> +Battle of Bannockburn, 442.<br /> +Bees, 439.<br /> +Bees' Nests, 217.<br /> +Best's Personal Memorials, 427.<br /> +Bewick, the Engraver, 39—173—426.<br /> +Birds, Colours of the Eggs of, 438.<br /> +Bishops' Sleeves, 205.<br /> +Bittern, American, 297.<br /> +Black Lady of Altenötting, 251.<br /> +Blarney Castle described, 273.<br /> +Boileau to his Gardener, 51.<br /> +Bologna, Leaning Towers of, 369.<br /> +Brimham Rocks, Lines on, 196.<br /> +British Sea Songs, 297.<br /> +British Artists, Lives of, 52.<br /> +British Institution, The, 277—358.<br /> +Brussels in 1829, 303.<br /> +Burleigh House, Northampton, 290.<br /> +Burmese Boat Races, 269.<br /> +Butterflies, Changes of, 381.<br /> +Byron, Lord, and Sir W. Scott, 109.<br /> +</p><p> +Calculating Child at Palermo, 290.<br /> +Camelopard, or Giraffe, 264.<br /> +Campbell, T., Lines by, 154.<br /> +Canterbury Cathedral, 20.<br /> +Card, The, 339.<br /> +Castle in the Air, 331.<br /> +Cats and Kittens, 243—307—360.<br /> +Chameleons, antipathy to black, 439.<br /> +Charles II., Escape of, 100.<br /> +Chestnut-tree, Large, 408.<br /> +Christmas Day last, 433.<br /> +City, a new one, 104.<br /> +City feast, 164.<br /> +Clifton described, 177—309.<br /> +Coast Blockade Men, 84.<br /> +Cobbett's Corn, 77—87.<br /> +Cochineal Insect, 217—408.<br /> +Coffee-room Character, 219.<br /> +Colosseum, The, 431.<br /> +Comic Annual, The, 374.<br /> +Constantinople, 130—245.<br /> +CONTEMPORARY TRAVELLER, 134—149, 260—278.<br /> +Co-operative Societies, and Home Colonies, 425.<br /> +COSMOPOLITE, The, 20—36—69—214.<br /> +Cosmoramas and Dioramas, 430.<br /> +Confession, The, a Sketch, 335.<br /> +Cruise of H.M.S. Torch, 366.<br /> +Cuckoo, The, 39.<br /> +Curtius, a Dramatic Sketch, 357.<br /> +</p><p> +Dan Dann'ly, Sir, 189.<br /> +Davy, Sir H., Lines on, 69—116.<br /> +Derwentwater, 152.<br /> +Devereux, Sir William, 15.<br /> +Dial, curious one at Whitehall, described, 345.<br /> +Diet of various nations, 20—36.<br /> +Drama, Notes on the, 201.<br /> +Dress, Note on, 223.<br /> +Driving Deer in Cheshire, 101.<br /> +Drury Lane, ancient, 291.<br /> +<span class="pagenum"><a id="page446" name="page446"></a>[pg 446]</span> +Duke's Theatre, Dorset Gardens, 209.<br /> +Durham House, Strand, 82.<br /> +Dugong, The, 439.<br /> +</p><p> +Eagles, mode of destroying, 381.<br /> +"Eating Mutton cold," 19.<br /> +Eddystone Lighthouse, 123.<br /> +Edie Ochiltree, 294.<br /> +Egyptian Justice, 309.<br /> +Eliza von Mansfield, a Ballad, 428.<br /> +Emigrants, Lines to, 154.<br /> +Emigration to New South Wales, 362.<br /> +Emmanuel, the, 377.<br /> +Epitaph in Butleigh Church, 12.<br /> +Equanimity (from Horace), 259.<br /> +Ettrick Shepherd and Sir W. Scott, 74.<br /> +Etymological Curiosities, 357.<br /> +Exercise, Air, and Sleep, Notes on, 211.<br /> +</p><p> +Fair Fanariote, a Tale, 9.<br /> +Fashionable Novels, 302.<br /> +Favourite, Recollections of a, 236.<br /> +Fearful Prospect, 429.<br /> +FINE ARTS, 277—358—403.<br /> +Flying Dragon, the, 217.<br /> +Forget-me-not, the, 379.<br /> +Franklin's Grave, 7.<br /> +Friends of the Dead, 35.<br /> +Friendship's Offering, 325.<br /> +Fruits, English, described, 197.<br /> +</p><p> +Gardens, Gleanings on, 419.<br /> +Gas Lights, 248.<br /> +GATHERER, the, in each No.<br /> +Gem, the, 321.<br /> +Genoese Customs, 178.<br /> +Geographical Discoveries, 313.<br /> +Germans and Germany, 311.<br /> +Glammis Castle, Scotland, 225.<br /> +Goose, eating the, 221.<br /> +Gothic Architecture, Notes on, 403.<br /> +Graysteil, a Ballad, 68.<br /> +Grecian Flies, or Spongers, 420.<br /> +Greece, Lines on, 99.<br /> +Greeks, the Modern, 376.<br /> +Grosvenor Gallery, Park Lane, 242.<br /> +Guineas and Sovereigns, 304.<br /> +Gurney's Steam Carriage, 194.<br /> +Guy Mannering, 89.<br /> +</p><p> +Hackney Coaches, 6.<br /> +Hampton Court Palace, 97—116.<br /> +Heads, English, 263.<br /> +Head Wager, 89.<br /> +Healths, pledging, 197.<br /> +Hearthstone, the, a Tale, 118.<br /> +Heathen Mythology, Lines on, 30.<br /> +Hebrew Poets, 107.<br /> +Hood's Comic Annual, 374.<br /> +Hood's Epping Hunt, 232.<br /> +Hopkinsonian Joke, 31.<br /> +</p><p> +I'd be an Alderman, 408.<br /> +I'd be a Parody, 97—116.<br /> +Idiot, the, an Anecdote, 263.<br /> +Illustrious Follies, 124.<br /> +Incident at Fondi, 213.<br /> +Incledon, Recollections of, 236.<br /> +Indian Sultana in Paris, 7.<br /> +Indigo, Cultivation of, 56.<br /> +Ingratitude, Lines on, 51.<br /> +Insects, History of, 347.<br /> +Insect, Lines to an, 149.<br /> +Iris, the, 384.<br /> +Irish Independence, 136.<br /> +Iron Plate, new, 13.<br /> +Isabel, a Story, 358.<br /> +Ivy, Varieties of, 120.<br /> +</p><p> +Jack Jones, the Recruit, 412.<br /> +Jenkins, Henry, 242.<br /> +Jersey, recent Tour in, 260—278.<br /> +Jews, History of the, 105.<br /> +Juvenile Forget-me-not, 269, 383.<br /> +Juvenile Keepsake, 412.<br /> +Juvenile Poetess, Memoir of, 343.<br /> +</p><p> +Keepsake, the, 372.<br /> +Kemble, John, and Miss Owenson, 93.<br /> +King's Evil, Touching for, 437.<br /> +</p><p> +Landon, Miss, Poetry by, 267.<br /> +Landscape Annual, the, 370.<br /> +La Perouse, Note on, 207.<br /> +Laing, Major, Death of, 219.<br /> +Lardner's Cyclopedia, 442.<br /> +Lay from Home, 115.<br /> +Libertine's Confession, 59.<br /> +Liberty, on, 214.<br /> +Life, Duration of, 174.<br /> +Limoeiro, at Lisbon, described, 337.<br /> +Lines in an Album, 100.<br /> +—— by Miss Mitford, 124.<br /> +—— to ——————, 308.<br /> +Lion-eating and Hanging, 8.<br /> +Lion's Roar, the, 290.<br /> +Literary Problem, 178.<br /> +———— Souvenir, 334—371.<br /> +Living, good and bad, 89.<br /> +Lost Lamb, 447.<br /> +Localities, chapter on, 146—226.<br /> +Locke, Lord King's Life of, 12.<br /> +Lone Graves, the, 18.<br /> +London, Lines on, 154.<br /> +——— View of, 249.<br /> +Lord Mayor's Day, Lines on, 350.<br /> +Love, a Ballad, 12—68.<br /> +Lucifer, a Tale, 325.<br /> +Lucretia Davidson, Memoir of, 340.<br /> +</p><p> +Mahomet and his Mistress, 339.<br /> +Major's Love Adventure, 285.<br /> +MANNERS and CUSTOMS, 38—101—178—197—231—311—375.<br /> +Mantis, or Walking Leaf, 306.<br /> +Margate described, 141.<br /> +Maria Gray, a Ballad, 173.<br /> +Masaniello, character of, 153.<br /> +<span class="pagenum"><a id="page447" name="page447"></a>[pg 447]</span> +Mercer's Hull and Old Cheapside, 17.<br /> +Milan Cathedral described, 2.<br /> +Minstrel Ballad, 100.<br /> +Minstrels and Music Licenses, 418.<br /> +Mocha Coffee, 47.<br /> +Mole, the, 281—297—360.<br /> +Moncrieff's Poems, 23.<br /> +Monkish Verses translated, 163.<br /> +Mont Blanc, ascent of, 71.<br /> +Months, Saxon Names for, 232.<br /> +Morgan, Lady, 382.<br /> +Mozart, Youth of, 254—265.<br /> +Murat, death of, 83.<br /> +</p><p> +NATURALIST, The, 4—39—86—120—174—217—281—297—306—381—438.<br /> +Nautilus, Lines on, 180.<br /> +New York, 249.<br /> +New Year's Gift, 293.<br /> +Ney, Marshal, Memoir of, 420.<br /> +Night in a Sedan Chair, 183.<br /> +NOTES OF A READER, 6—46—61—71—93—120—152—186—220—247—297—347 +—360—423.<br /> +NOVELIST, The, 9—58—89—118—213—244—358—404.<br /> +</p><p> +Oaks, Superstition against felling, 375.<br /> +Observatory at Greenwich, 401.<br /> +Old Man's Story, The, 283.<br /> +OLD POETS, 4—140—271—407.<br /> +Once Ancient, 85.<br /> +Opium-eating in Turkey, 270.<br /> +Out of Season, a Lament, 291.<br /> +Oyster catching Mice, &c., 87.<br /> +</p><p> +Palestine described, 107.<br /> +Paley, Recollections of, 158.<br /> +Paraphrase on Heber, 181.<br /> +Pendrills, Family of, 35.<br /> +Periodical Literature, 440.<br /> +Peru, Adventure in, 230.<br /> +Phillips', Sir R., Personal Tour, 377.<br /> +Physiognomy of Houses, 100.<br /> +Plantagenets, Last of the, 46.<br /> +Planters, Royal, 73.<br /> +Pool's Hole, Derbyshire, 19.<br /> +Poor, Laws for the, 299.<br /> +Pope's Temple at Hagley, 49.<br /> +Popular Philosophy, 430.<br /> +Proverbs, Old, illustrated, 133.<br /> +Provincial Reputation, 409.<br /> +Psalmody, Improved, 114—370.<br /> +Punch, How to Make, 8.<br /> +Pursuit of Knowledge, 108—138.<br /> +</p><p> +Quadrupeds and Birds feeding Shell-fish, 4.<br /> +</p><p> +Red Indians, Journey in search of, 134—149.<br /> +Regent's Park, 12.<br /> +RETROSPECTIVE GLEANINGS, 11—76—163—246—308—437.<br /> +River, Lines to a, 254.<br /> +Rosamond, Fair, Portrait of, 86.<br /> +Royal Exchange, The original, 257.<br /> +Ruined Well, Stanzas, 372.<br /> +Rustic Amusements, 3.<br /> +</p><p> +St. Dunstan's, Fleet-street, 145—243.<br /> +St. Peter's Church, Pimlico, 113.<br /> +St. Sepulchre's Bell, 259.<br /> +Saline Lake in India, 13.<br /> +Sea-side Mayor, 231.<br /> +Sea Pens, Cuts of, 281.<br /> +Seasons, Sonnets on, 210.<br /> +Season in Town, 30.<br /> +Select Biography, 340.<br /> +Shakspeare's Brooch, 201—372.<br /> +Sheffield, Picture of, 377—413.<br /> +Sighmon Dumps, 169—420.<br /> +SELECTOR, The, 13—22—40—52—105—136—156—197—232—267—283—442.<br /> +Shumla described, 186.<br /> +Siamese Twins, Account of, 353.<br /> +Singing Psalms, 375.<br /> +Sion House, Isleworth, 161.<br /> +Sisters of Charity, 69.<br /> +SKETCH BOOK, The, 24—74—100—169.<br /> +Skimington Riding, 183—231—235—375.<br /> +Skying a Copper, by Hood, 280.<br /> +Sleep, Curious facts on, 229.<br /> +Soda Water, Dr. Paris, on, 69.<br /> +Southern African Letter, 315.<br /> +Southey, Dr., 61—426.<br /> +Sparrow, Address of, 148—403.<br /> +Spiders, 439.<br /> +SPIRIT OF DISCOVERY, 12—56-108—185—206—282—313.<br /> +SPIRIT OF THE PUBLIC JOURNALS, 12—29—45—59—77—87—109—124—141 +—155—173—189—219—237—251—263—300—315—366—382—408—428—440.<br /> +Spirit of the Storm, 235.<br /> +Splendid Annual, The, 24.<br /> +Spring Tides, 418.<br /> +Staubbach, Falls of the, 369.<br /> +Starfish, Branched, 307.<br /> +Stone, Ancient, at Carmarthen, 20.<br /> +Stone, Crosses and Pillars, 247.<br /> +Storm raising, 38.<br /> +Sussex Cottages, 6.<br /> +Southwell Church, 168.<br /> +Stratford, Lord, Letter of, 246.<br /> +Superstition, Cure for, 383.<br /> +</p><p> +Taylor Bird, Nest of, 120.<br /> +Temple New Buildings, 417.<br /> +Theatres, Ancient and modern, 202.<br /> +Thief, The general, 372.<br /> +Time, Lines on, 214.<br /> +<span class="pagenum"><a id="page448" name="page448"></a>[pg 448]</span> +Tomb, Enigma on, 214—292.<br /> +Topographer, The, 309.<br /> +Touching for the Evil, 308.<br /> +Toyman is abroad, 45—60.<br /> +Tunbridge Wells in 1748, 65.<br /> +Turkey, Note on, 222.<br /> +Twin Sisters, 402.<br /> +Tyre, Ancient, 15—115.<br /> +</p><p> +Unicorn, The, 142.<br /> +</p><p> +Veil, Origin of the, 103—181.<br /> +Verona described, 321.<br /> +Vidocq, Memoirs of, 13—40—156—164.<br /> +Vine, Lines on, 214.<br /> +Virgil's Tomb, Description of, 432.<br /> +Voltaire at Ferney, 81—191.<br /> +</p><p> +Watchman's Lament, 88.<br /> +Waterloo, Battle of, 268.<br /> +Watling Street, Ancient, 34.<br /> +Whitehall, Curious Dial at, 345.<br /> +Whitehall, Paintings at the Banquetting House, 436.<br /> +Winchester, Sonnet on, 258.<br /> +Wreck on a Coral Reef, 373.<br /> +</p><p> +Young Lady's Book, 445.<br /> +</p><p> +Zaragoza, Fall of, 436.<br /> +Zoological Gardens, 264.<br /> +Zoological Keepsake, 447.<br /> +Zoological Society, 13—57.<br /> +Zoological Work, New, 86.<br /> +</p> +<hr class="full" /> + + + +<h2> +LIST OF ENGRAVINGS.</h2> +<h3> +VOL. XIV.</h3> + +<hr/> +<h3> +<i>PORTRAIT OF THOMAS CAMPBELL, ESQ.</i></h3> +<center> +ENGRAVED ON STEEL.</center> + +<p> +Milan Cathedral.<br/> +Mercers' Hall, Cheapside.<br/> +Apsley House.<br/> +Argonaut, or Paper Nautilus.<br/> +Pope's Temple, at Hagley.<br/> +Tunbridge Wells in 1748.<br/> +Voltaire's Chateau, at Ferney.<br/> +Hampton Court.<br/> +Plan for a New City.<br/> +St. Peter's Church, Pimlico.<br/> +Nest of the Taylor Bird.<br/> +Constantinople.<br/> +St. Dunstan's, Fleet-street.<br/> +Sion House.<br/> +Southwell Church.<br/> +Clifton.<br/> +Guruoy's Steam Carriage.<br/> +Shakspeare's Brooch.<br/> +Duke's Theatre, Dorset Gardens.<br/> +Flying Dragon.<br/> +Glammis Castle.<br/> +Grosvenor Gallery, Park-lane.<br/> +Royal Exchange (the Original).<br/> +Blarney Castle, Cork.<br/> +Sea Pens.<br/> +Burleigh, Northamptonshire.<br/> +Mantis, or Walking Leaf.<br/> +Branched Star-fish.<br/> +Verona.<br/> +The Limoeiro, at Lisbon.<br/> +Curious Dial.<br/> +Siamese Twins.<br/> +Fall of the Staubbach.<br/> +Leaning Towers at Bologna.<br/> +Meeting a Settler.<br/> +Breaking-up no Holiday.<br/> +Royal Observatory, Greenwich.<br/> +Cochineal Insect and Plant.<br/> +New Buildings, Inner Temple.<br/> +Virgil's Tomb. +</p> + +<hr class="full" /> + +<blockquote class="footnote"> +<a id="footnote1" name="footnote1"></a> +<b>Footnote 1</b>: +<a href="#footnotetag1">(return)</a> +<p>This is not intended exclusively for the <i>new type</i> of the + present volume.</p> +</blockquote> + +<blockquote class="footnote"> +<a id="footnote2" name="footnote2"></a> +<b>Footnote 2</b>: +<a href="#footnotetag2">(return)</a> +<p>For a view of this retreat, see the MIRROR No. 337.</p> +</blockquote> + +<blockquote class="footnote"> +<a id="footnote3" name="footnote3"></a> +<b>Footnote 3</b>: +<a href="#footnotetag3">(return)</a> +<p>This work is in seven handsome library volumes; a new edition + was announced two or three years since, but has not yet + appeared.</p> +</blockquote> + +<blockquote class="footnote"> +<a id="footnote4" name="footnote4"></a> +<b>Footnote 4</b>: +<a href="#footnotetag4">(return)</a> +<p>Still, Mr. Campbell's name does not occur in the List of Council + or Professors of the University, in the British Almanac for the + present year.</p> +</blockquote> + +<blockquote class="footnote"> +<a id="footnote5" name="footnote5"></a> +<b>Footnote 5</b>: +<a href="#footnotetag5">(return)</a> +<p>We are aware of part of the subsequent extract having appeared + in vol. xi. of THE MIRROR, but the additional interest which it + bears in juxtaposition with this Memoir, induces us to repeat + it here.</p> +</blockquote> + +<blockquote class="footnote"> +<a id="footnote6" name="footnote6"></a> +<b>Footnote 6</b>: +<a href="#footnotetag6">(return)</a> +<p>See MIRROR, No. 257.</p> +</blockquote> + +<hr class="full" /> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 11258 ***</div> +</body> +</html> + diff --git a/11258-h/images/407-1.png b/11258-h/images/407-1.png Binary files differnew file mode 100644 index 0000000..1cb80e8 --- /dev/null +++ b/11258-h/images/407-1.png |
