diff options
Diffstat (limited to '12497-h')
| -rw-r--r-- | 12497-h/12497-h.htm | 2085 | ||||
| -rw-r--r-- | 12497-h/12497-h.htm~ | 1684 | ||||
| -rw-r--r-- | 12497-h/images/537-1.png | bin | 0 -> 63046 bytes | |||
| -rw-r--r-- | 12497-h/images/537-1.png~ | bin | 0 -> 63046 bytes | |||
| -rw-r--r-- | 12497-h/images/537-2.png | bin | 0 -> 101721 bytes | |||
| -rw-r--r-- | 12497-h/images/537-2.png~ | bin | 0 -> 101721 bytes |
6 files changed, 3769 insertions, 0 deletions
diff --git a/12497-h/12497-h.htm b/12497-h/12497-h.htm new file mode 100644 index 0000000..5ebfa00 --- /dev/null +++ b/12497-h/12497-h.htm @@ -0,0 +1,2085 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" +"http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> +<title>The Project Gutenberg eBook of The Mirror of Literature, Amusement, and Instruction, Vol. 19, No. 537, March 10, 1832, by Various</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.i4 {margin-left: 2em;} + .poem p.i6 {margin-left: 3em;} + .poem p.i8 {margin-left: 4em;} + .figure {padding: 1em; margin: 0; text-align: center; font-size: 0.8em; margin: auto;} + .figure img {border: none;} + .figure p + a:link {color:blue; + text-decoration:none} + link {color:blue; + text-decoration:none} + a:visited {color:blue; + text-decoration:none} + a:hover {color:red} + pre {font-size: 9pt;} + --> + </style> +</head> +<body> +<h1>The Project Gutenberg eBook, The Mirror of Literature, Amusement, and +Instruction, Vol. 19, No. 537, March 10, 1832, by Various</h1> +<pre> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "https://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: The Mirror of Literature, Amusement, and Instruction, Vol. 19, No. 537, March 10, 1832</p> +<p>Author: Various</p> +<p>Release Date: June 2, 2004 [eBook #12497]</p> +<p>Language: English</p> +<p>Character set encoding: iso-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK THE MIRROR OF LITERATURE, AMUSEMENT, AND INSTRUCTION, VOL. 19, NO. 537, MARCH 10, 1832***</p> +<br /> +<br /> +<center><b>E-text prepared by Jonathan Ingram, David Garcia,<br /> + and the Project Gutenberg Online Distributed Proofreading Team</b></center> +<br /> +<br /> + <hr class="full" /> + <span class="pagenum"><a id="page145" name="page145"></a>[pg 145]</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. XIX, NO. 537.]</b></td> + <td align="center"><b>SATURDAY, MARCH 10, 1832.</b></td> + <td align="right"><b>[PRICE 2d.</b></td> + </tr> + </table> + <hr class="full" /> +<h2> + POLYNESIAN ISLANDS. +</h2> +<div class="figure" style="width: 100%;"> +<a href="images/537-1.png"><img width="100%" src="images/537-1.png" +alt="Tucopia." /></a> +<center>TUCOPIA.</center> +</div> +<div class="figure" style="width: 100%;"> +<a href="images/537-2.png"><img width="100%" src="images/537-2.png" +alt="Piercy Islands" /></a> +<center>PIERCY ISLANDS.</center> +</div> +<p> +Mr. George Bennett,<a id="footnotetag1" name="footnotetag1"></a><a href="#footnote1"><sup>1</sup></a> whose "Journals" and "Researches" denote him to +be a shrewd and ingenious observer, has favoured us with the original +sketches of the above cuts. They represent three of the spots that stud +the Southern Pacific Ocean. The first beams with lovely luxuriance in +its wood-crowned heights; while the second and third rise from the bosom +of the sea in frowning sterility +<span class="pagenum"><a id="page146" name="page146"></a>[pg 146]</span> + amidst the gay ripple that ever and +anon laves their sides, and plashes in the brilliancy of the sunbeam. +</p> +<p> +Tucopia, or Barwell's Island, has recently been elsewhere described by +Mr. Bennett.<a id="footnotetag2" name="footnotetag2"></a><a href="#footnote2"><sup>2</sup></a> His sketch includes the S.W. side of the island, and +his entertaining description is as follows: +</p> +<p> +"This small but elevated and wooded island was discovered by the +ship Barwell in 1798; it was afterwards (1810) visited by the French +navigators, who called it by the native name Tucopia. On the S.W. side +of the island is a wooded, picturesque valley, surrounded by lofty +mountains, and containing a small but well-inhabited village. Two +singularly isolated basaltic rocks, of some elevation, partially bare, +but at parts covered by shrubs, rise from about the centre of the +valley. When close in, two canoes came off containing several natives, +who readily came on board; two of them had been in an English whaler, +(which ships occasionally touched at the island for provisions, &c.) and +addressed us in tolerable English. They were well formed, muscular men, +with fine and expressive features, of the Asiatic race, in colour of a +light copper; they wore the hair long, and stained of a light brown +colour; they were tattooed only on the breast, which had been executed +in a neat vandyked form; the ears, as also the septum narium, were +perforated, and in them were worn tortoiseshell rings; around the waist +was worn a narrow piece of native cloth (died either of a dark red or +yellow colour), or a small narrow mat formed from the bark of a tree, +and of fine texture; some of these had neatly-worked dark red borders, +apparently done with the fibres of some dyed bark. They rub their bodies +with scented cocoa-nut oil as well as turmeric. The canoes were neatly +constructed, had outriggers, and much resemble those of Tongatabu; the +sails were triangular, and formed of matting. No weapons were observed +in the possession of any of the natives; they said they had two muskets, +which had been procured in barter from some European ship. We landed on +a sandy beach, and were received by a large concourse of natives. We +were introduced to a grave old gentleman, who was seated on the ground, +recently daubed with turmeric and oil for this ceremony; he was styled +the ariki, or chief, of this portion of the island. On an axe, as well +as other presents, being laid before him, he (as is usual among the +chiefs of the Polynesian Islands on a ceremonial occasion) did not show +any expression of gratification or dislike at the presents but in a +grave manner made a few inquiries about the ship. Near the ariki sat a +female, whose blooming days had passed; she was introduced as his wife; +her head was decorated with a fillet of white feathers; the upper part +of her body was exposed, but she wore a mat round the waist which +descended to the ankles; the chief was apparently a man of middle age. +</p> +<p> +"The native habitations were low, of a tent form, and thatched with +cocoa-nut leaves; these habitations were not regular, but scattered +among the dense vegetation which surrounded them on all sides. The tacca +pinnatifida, or Polynesian arrow-root plant, called massoa by the +natives, was abundant, as also the fittou, or calophyllum inophyllum, +and a species of fan palm, growing to the height of fifteen and twenty +feet, called tarapurau by the natives; the areka palm was also seen, and +the piper betel was also cultivated among them. They had adopted the +oriental custom of chewing the betel; in using this masticatory they +were not particular about the maturity of the nuts, some eating them +very young as well as when quite ripe; they carried them about enclosed +in the husk, which was taken off when used.<a id="footnotetag3" name="footnotetag3"></a><a href="#footnote3"><sup>3</sup></a> At a short distance from +the beech, inland, was a lake of some extent, nearly surrounded by +lofty, densely-wooded hills. Some wild ducks were seen, and a gun being +fired at them, the report raised numbers of the 'plumy tribe,' filling +the air with their screams, alarmed at a noise to which they had been +unaccustomed. Several native graves were observed, which were very neat; +a stone was placed at the head and the grave neatly covered over by +plaited sections of the cocoa-nut frond; no particular enclosures for +the burial of the dead were observed. When rambling about, the 'timid +female' fled at our approach. From a casual glimpse of the <i>fair</i> +objects, they merit being classed among the 'beautiful portion of the +creation;' their hair was cut close. +</p> +<p> +"Cooked yams, cocoa-nuts, &c. were brought us by the natives, and +their manner was very friendly; of provisions, yams, hogs, &c. could +be procured. +<span class="pagenum"><a id="page147" name="page147"></a>[pg 147]</span> + The natives were anxious to accompany us on the voyage, +and it was with the greatest difficulty that we could get rid of them. +It seems they have occasional intercourse with islands at some distance +from them; two fine polished gourds, containing lime, &c. used with +their betel, were observed among them—one was plain and the other +ornamented with figures, apparently burnt by some instrument. They +stated that these had been procured from the island of Santa Cruz +(Charlotte's Archipelago) by one of the chief's sons. Some of the +natives were observed much darker than others, and there appeared +a mixture of some races. Their numerals were as follows:— +</p> +<div class="poem"><div class="stanza"> + <p> "1 Tashi.</p> + <p> 2 Rua.</p> + <p> 3 Toru.</p> + <p> 4 Fa.</p> + <p> 5 Hima.</p> + <p> 6 Ono.</p> + <p> 7 Fithu.</p> + <p> 8 Warru.</p> + <p> 9 Hiva.</p> + <p> 10 Tanga, foru."</p> +</div></div> +<p> +The isolated basaltic rocks in the centre of the valley may give rise to +some curious speculations on the origin of this island. It has long been +decided that basaltic rocks are of igneous origin, in opposition to the +theory of Werner—that they were deposited by the ocean on the summits +of elevated mountains. May not the occurrence of these basalt rocks +therefore illustrate the more immediate volcanic origin of Tucopia? +</p> +<p> +The second Cut represents the PIERCY ISLANDS, two barren islets situated +a short distance off Cape Bret, (New Zealand,) near the entrance of the +Bay of Islands: one is of very small size, and appears connected to the +other by a ledge of rocks visible at low water. The larger one is quoin +shaped, and has a remarkable perforation, seen in the sketch. +</p> +<hr /> +<h3> + OLIVER GOLDSMITH. +</h3> +<center> +(<i>For the Mirror.</i>) +</center> +<p> +One of the residences of this historian and poet, was about a mile from +Paddington on the north side of the Edgware Road, near a place called +Kilburn Priory; and the wooden cottage is still standing, although the +land near it has been of late covered with newly-erected villas. It is +occupied by a person in humble life, and is not to be altered or removed +owing to the respect entertained for the memory of this remarkable +literary character. In this cottage, Goldsmith wrote his admirable +treatise on <i>Animated Nature.</i> A sketch of this rustic dwelling is +a desideratum, as, in after days, it may be demolished to make way for +modern improvement. +</p> +<h4> +J.C.H. +</h4> +<hr /> +<h3> + STANZAS +</h3> +<center> +TO THE SPIRIT OF EVENING. +</center> +<center> +(<i>For the Mirror.</i>) +</center> +<div class="poem"><div class="stanza"> + <p> Mild genius of the silent eve!</p> +<p class="i2"> Thy pathway through the radiant skies,</p> + <p> Is the rich track which sunbeams weave</p> +<p class="i2"> With all their varied, mingling, dyes,</p> + <p> Ere yet the lingering sun has fled,</p> + <p> Or glory left the mountain's head.</p> +</div><div class="stanza"> + <p> Yet not one ray of sunset's hue</p> +<p class="i2"> Illumes thy silent, peaceful train;</p> + <p> And scarce a murmur trembles through</p> +<p class="i2"> The woods, to hail thy gentle reign,</p> + <p> Save where the nightingale, afar,</p> + <p> Sings wildly to thy lonely star.</p> +</div><div class="stanza"> + <p> Yet gentlest eve, attending thee,</p> +<p class="i2"> Come meek devotion, peace, and rest,</p> + <p> Mild contemplation, memory,</p> +<p class="i2"> And silence with her sway so blest;</p> + <p> And every mortal wish and thought,</p> + <p> By thee to holiest peace is wrought.</p> +</div><div class="stanza"> + <p> Thine airs that crisp the quiet stream,</p> +<p class="i2"> Are soft as slumbering infants' breath:</p> + <p> The trembling stars, that o'er thee beam,</p> +<p class="i2"> Are pure as Faith's own crowning wreath:</p> + <p> And e'en thy silence has for me</p> + <p> A charm more sweet than melody.</p> +</div><div class="stanza"> + <p> Oh gentle spirit, blending all</p> +<p class="i2"> The beauties parting day bestows,</p> + <p> With deeper hues that slowly fall,</p> +<p class="i2"> To shadow Nature's soft repose;</p> + <p> So sweet, so mild, thy transient sway,</p> + <p> We mourn it should so soon decay.</p> +</div><div class="stanza"> + <p> But like the loveliest, frailest things</p> +<p class="i2"> We prize on earth, thou canst not last;</p> + <p> For scarce thine hour its sweetness brings</p> +<p class="i2"> To soothe, and bless us, e'er 'tis past;</p> + <p> And night, dull cheerless night destroys</p> + <p> Thy tender light, and peaceful joys.</p> +</div></div> +<h4> +SYLVA. +</h4> +<hr /> +<h3> + TRAVELLING NOTES IN SOUTH WALES. +</h3> +<center> +(<i>To the Editor.</i>) +</center> +<p> +I observe a communication respecting my little note on the shrimp in one +of your recent Numbers. Whether shrimps or not, I was not aware of my +error, for they closely resembled them, and were not "as different as +possible," as H.W. asserts. Every person too, must have remarked the +agility of the old shrimp when caught. They were besides of various +sizes, many being much larger that what H.W. means as the "sea flea." +Perhaps H.W. will be good enough to describe the size of the latter +when he sends his history of the shrimp. +</p> +<p> +With regard to the "encroachers," my information must have been +incorrect. I had omitted, accidentally however, in the hurry of writing, +to add "if undisturbed for a certain period," to the passage quoted in +page 20 of your No. 529. +</p> +<p> +In North Wales, some years ago, there were some serious disturbances +<span class="pagenum"><a id="page148" name="page148"></a>[pg 148]</span> +concerning an invasion of the alleged rights of the peasantry, but +I do not now remember the particulars. Few things by the way, have been +attended with more mischievous effects in England than the extensive +system of inclosures which has been pursued within the last thirty +years. No less than 3,000 inclosure acts have been passed during that +period; and nearly 300,000 acres formerly common, inclosed: from which +the poor cottager was once enabled to add greatly to his comfort, and +by the support thus afforded him, to keep a cow, pigs, &c. +</p> +<p> +I attended a meeting at Exeter Hall, the other day, of the "Labourers' +Friend Society," whose object is to provide the peasantry with small +allotments of land at a low rent. This system, if extensively adopted, +promises to work a wonderful change for the better in the condition of +the working classes. Indeed the system where adopted has already been +attended with astonishing results. When we come to consider that out of +the 77,394,433 acres of land in the British Isles, there are no less +than 15,000,000 acres of uncultivated wastes, which might be profitably +brought under cultivation; it is surprising to us, that instead of +applying funds for emigration, our legislators have so long neglected +this all-important subject. Of the remaining 62,394,433 acres, it +appears that 46,522,970 are cultivated, and 15,871,463 unprofitable +land. The adoption of the allotment system has been justly characterized +as of national importance, inasmuch as it diminishes the burdens of the +poor, is a stimulus to industry, and profitably employs their leisure +hours; besides affording an occupation for their children, who would +otherwise, perhaps, run about in idleness. +</p> +<p> +In the reign of Elizabeth, no cottager had less than four acres of land +to cultivate; but it has been found that a single rood has produced the +most beneficial effects. We need scarcely add that where adopted, it has +very greatly reduced the poor-rates. The subject is an interesting one, +and, I trust, we shall in a short period hear of the benevolent and +meritorious objects of the Society being extensively adopted. We refer +the reader to some remarks on the subject in connexion with the Welsh +peasantry, &c. in <i>The Mirror</i>, No. 505. +</p> +<p> +In our description of Swansea, in No. 465, we mentioned the facility +with which the harbour could be improved, and the importance of adapting +it for a larger class of shipping than now frequent that port. On a +recent visit to South Wales, we found this improvement about to be +carried into effect, and an act is to be obtained during the present +session of Parliament. A new harbour on an extensive scale, is also +about to be commenced near Cardiff. The increase of population in Wales +has been very considerable since the census of 1821. Wales contains a +superficies of 4,752,000 acres; of which 3,117,000 are cultivated; +530,000 capable of improvement, and 1,105,000 acres are unprofitable +land. +</p> +<h4> +VYVYAN. +</h4> +<hr class="full" /> +<h2> + THE SKETCH BOOK +</h2> +<hr /> +<h3> +SCOTTISH SPORTING. +</h3> +<center> +(<i>Concluded from page</i> 137.) +</center> +<p> +But here come the graces of the forest, fifty at least in the herd—how +beautifully light and airy; elegance and pride personified; onward they +come in short, stately trot, and tossing and sawing the wind with their +lofty antlers, like Sherwood oak taking a walk; heavens! it is a sight +of sights. Now advance in play, a score of fawns and hinds in front of +the herd, moving in their own light as it were, and skipping and leaping +and scattering the dew from the green sward with their silvery feet, +like fairies dancing on a moonbeam, and dashing its light drops on to +the fairy ring with their feet of ether. O! it was a sight of living +electricity; our very eyes seemed to shoot sparks from man to man, and +even the monkey himself, as we gazed at each other in trembling +suspense. +</p> +<p> +"Noo, here they coom wi' their een o' fire an' ears o' air," whispered +the Ettric poet. +</p> +<p> +"Hush," quoth I, "or they'll be off like feathers in a whirlwind, or +shadows of the lights and darks of nothingness lost in a poet's +nightmare." +</p> +<p> +"A <i>sumph</i> ye mean," answered Jammie. +</p> +<p> +"Hush, there they are gazing in the water, and falling in love with +their own reflected beauty." +</p> +<p> +"Mark the brindled tan buck," whispered one keeper to the other. They +fired together, and both struck him plump in his eye of fire; mine +seemed to drop sparks with sympathy: he bounded up ten feet high—he +shrieked, and fell stone dead; Gods, what a shriek it was; I fancy even +now I have that shriek and its hill-echo chained to the tympanum of my +ear, like the shriek of the shipwrecked hanging +<span class="pagenum"><a id="page149" name="page149"></a>[pg 149]</span> + over the sea—heavens! +it was a pity to slay a king I thought, as I saw him fall in his pride +and strength; but by some irresistible instinct, my own gun, pulled, I +don't know how, and went off, and wounded another in the hip, and he +plunged like mad into the river, to staunch his wounds and defend +himself against the dogs. Ay, there he is keeping them at bay, and +scorning to yield an inch backward; and now the keeper steals in behind +him and lets him down by ham-stringing him: but when he found his +favourite dog back-broken by the buck, why he cursed the deer, and +begged our pardon for swearing; and now he cuts a slashing gash from +shoulder to chop to let out the blood; and there lay they, dead, in +silvan beauty, like two angels which might have been resting on the +pole, and spirit-stricken into ice before they had power to flee away. +</p> +<p> +But we must away to Sir Reynard's hall, and unsough him; this we can +do with less sorrowful feelings than killing a deer, which indeed, +is like taking the life of a brother or a sister; but as to a fox, +there is an old clow-jewdaism about him, that makes me feel like +passing Petticoat-lane or Monmouth-street, or that sink of iniquity, +Holy-well-street. O, the cunning, side-walking, side-long-glancing, +corner-peeping, hang-dog-looking, stolen-goods-receiving knave; +"Christian dog" can hold no sympathy with thee, so have at thee. +Ah, here is his hold, a perfect Waterloo of bones. +</p> +<p> +"The banes o' my bonnie Toop, a prayer of vengeance for that; an' Sandy +Scott's twa-yir-auld gimmer, marterdum for that." "An' my braxsied +wether," quoth a forester; "the rack for that, and finally the auld +spay-wife's bantam cock, eyes and tongue cut out and set adrift again, +for that." Now we set to work to clear his hole for "rough Toby" +(a long-backed, short-legged, wire-haired terrier of Dandy Dinmont's +breed) to enter; in he went like red-hot fire, and "ready to nose the +vary deevil himsel sud he meet him," as Jammie Hogg said; and to see +the chattering anxiety of the red-coated monkey, as he sat at the mouth +of the fox-hole, on his shaggy, grizzle-grey shadow of a horse, like a +mounted guardsman in the hole yonder at St. James's; it truly would have +made a "pudding creep" with laughter—"Reek, reek, reeking into th' hole +after Toby, with his we we cunnin, pinkin, glimmerin een, an' catchin +him 'bith stump o' th' tail as he were gooin in an' handing as long as +he could," as James said. O, it was a very caricature of a caricature. +But list, I hear them scuffle, they are coming out. Notice the monkey +shaking his "bit staff;" here they come like a chimney swept in a hurry, +they are out. "What a gernin, glowerin, sneerin, deevilitch leuk can a +tod gie when hee's keepit at bay just afore he slinks off," exclaimed +the poet, as Reynard was stealing away; but yonder they go before the +wind, down the sweeping, outstretched glen, like smoke in a blast. +Ay, there they go, two stag hounds, monkey, and grew, and Toby yelping +behind; what a view we have of them—the grew is too fleet for him, he +turns him and keeps him at bay till the hounds come up; now they are +off again, and now we lose them, vanished like the shadow of a dream. +</p> +<p> +We followed, and on our way we met a herdsman, with his eyes staring +like two bullets stuck in clay, or rather two currants stuck in a +pudding: he said he had met "the deevil, a' dress'd like a heelanman o' +tod huntin;" of course we laughed from the bottom end of our very +bowels; but that was not the way to undemonize him, no, he pledged +himself that he saw him "wi' his own twa een lowp off the shoather o' a +thing lik a snagged foal, an' gie the tod such a dirl 'ith heed, that he +kilt him deed's a herrin, an' we micht a' witness the same by gannin to +the Shouther o' Birkin Brae." And truly it was as he said, for we found +the mark of the little Highlandman's shillela on the fox's head, while +he himself was sitting a straddle on him, like "the devil looking over +Lincoln Minster," and the dogs lying panting round about. +</p> +<p> +On our road home to Hogg's we paid a visit to a wild-cat's lair in the +Eagle's Cragg, and of all the incarnate devils, for fighting I ever saw, +they "cow the cuddy," as the Scotch say; perfect fiends on earth. There +was <i>pa</i> and <i>ma</i>, or rather <i>dad</i> and <i>mam</i>, (about +the bigness of tiger-cats, one was four feet and a half from tip to +tail) and seven kittens well grown; and O, the spit, snarl, tusshush and +crissish, and mow-waaugh they did kick up in their den, whilst in its +darkness we could see the <i>electricity</i> or phosphorescence of their +eyes and hair sparkling like chemical fire-works. But I must tell you +the rest hereafter, for my paper is out! +</p> +<h4> +W.H. +</h4> +<hr /> +<p> +<span class="pagenum"><a id="page150" name="page150"></a>[pg 150]</span> +</p> +<h2> + FINE ARTS. +</h2> +<hr /> +<h3> + MR. HAYDON'S PICTURES. +</h3> +<p> +Mr. Haydon has nearly completed his <i>Xenophon</i>, which he intends to +make the nucleus of an Exhibition during the present town season. The +King has graciously lent Mr. Haydon the <i>Mock Election</i> picture; +(for an Engraving of which see Mirror, vol. xi. p. 193,) for the above +purpose. There will be other pictures, of comic and domestic interest +by the same artist; among which will be <i>Waiting for the Times</i>, +(purchased by the Marquess of Stafford;) <i>The First Child</i>, very +like papa about the eyes, and mamma about the nose; <i>Reading the +Scriptures; Falstaff and Pistol; Achilles playing the Lyre;</i> and +others, which with a variety of studies, will make up an interesting +Exhibition. +</p> +<hr class="full" /> +<h2> + THE NATURALIST. +</h2> +<hr /> +<h3> + A DAY IN BRAZIL. +</h3> +<p> +The following is a translation of the leaf from the journal of Dr. +Martins, dated Para, August 16, 1819; and describes an equatorial day, +as observed near the mouths of the Para and the Amazons:— +</p> +<p> +How happy am I here! How thoroughly do I now understand many things +which before were incomprehensible to me! The glorious features of this +wonderful region, where all the powers of nature are harmoniously +combined, beget new sensations and ideas. I now feel that I better know +what it is to be a historian of nature. Overpowered by the contemplation +of an immense solitude, of a profound and inexpressible stillness, +it is, doubtless, impossible at once to perceive all its divine +characteristics; but the feeling of its vastness and grandeur cannot +fail to arouse in the mind of the beholder the thrilling emotions +of a hitherto inexperienced delight. +</p> +<p> +It is three o'clock in the morning, I quit my hammock; for the +excitement of my spirits banishes sleep. I open my window, and gaze on +the silent solemnity of night. The stars shine with their accustomed +lustre, and the moon's departing beam is reflected by the clear surface +of the river. How still and mysterious is every thing around me! I take +my dark lantern, and enter the cool verandah, to hold converse with my +trusty friends the trees and shrubs nearest to our dwelling. Most of +them are asleep, with their leaves closely pressed together; others, +however, which repose by day, stand erect, and expand themselves in +the stillness of night. But few flowers are open; only those of the +sweet-scented Paulli<i>nia</i> greet me with a balmy fragrance, and +thine, lofty mango, the dark shade of whose leafy crown shields me from +the dews of night. Moths flit, ghost-like, round the seductive light of +my lantern. The meadows, ever breathing freshness, are now saturated +with dew, and I feel the damp of the night air on my heated limbs. +A Cicàda, a fellow-lodger in the house, attracts me by its domestic +chirp back into my bedroom, and is there my social companion, while, +in a happy dreaming state, I await the coming day, kept half awake by +the buzz of the mosquites, the kettle-drum croak of the bull-frog, or +the complaining cry of the goatsucker. +</p> +<p> +About five o'clock I again look out, and behold the morning twilight. +A beautiful even tone of grey, finely blended with a warmth-giving red, +now overspreads the sky. The zenith only still remains dark. The trees, +the forms of which become gradually distinct, are gently agitated by +the land wind, which blows from the east. The red morning light and +its reflexes play over the dome-topped caryocars, bertholetias, and +symphonias. The branches and foliage are in motion, and all the lately +slumbering dreamers are now awake, and bathe in the refreshing air +of the morning. Beetles fly, gnats buzz, and the varied voice of the +feathered race resounds from every bush; the apes scream as they clamber +into the thickets; the night moths, surprised by the approach of light, +swarm back in giddy confusion to the dark recesses of the forest; there +is life and motion in every path; the rats and all the gnawing tribe are +hastily retiring to their holes, and the cunning marten, disappointed of +his prey, steals from the farm-yard, leaving untouched the poultry, to +whom the watchful cock has just proclaimed the return of day. +</p> +<p> +The growing light gradually completes the dawn, and at length the +effulgent day breaks forth. It is nature's jubilee. The earth awaits her +bridegroom, and, behold, he comes! Rays of red light illumine the sky, +and now the sun rises. In another moment he is above the horizon, and, +emerging from a sea of fire, he casts his glowing rays upon the earth. +The magical twilight is gone; bright gleams flit from point to point, +accompanied by deeper and deeper shadows. Suddenly the enraptured +observer beholds around him the joyous earth, arrayed in fresh dewy +splendour, the fairest of brides. The vault of heaven is cloudless; +on the earth all is instinct +<span class="pagenum"><a id="page151" name="page151"></a>[pg 151]</span> + with life, and every animal and plant is +in the full enjoyment of existence. At seven o'clock the dew begins to +disappear, the land breeze falls off, and the increasing heat soon makes +itself sensibly felt. The sun ascends rapidly and vertically the +transparent blue sky, from which every vapour seems to disappear; but +presently, low in the western horizon, small, flaky, white clouds are +formed. These point towards the sun, and gradually extend far into the +firmament. By nine o'clock the meadow is quite dry, the forest appears +in all the splendour of its glowing foliage. Some buds are expanding; +others, which had effloresced more rapidly, have already disappeared. +Another hour, and the clouds are higher: they form broad, dense masses, +and, passing under the sun, whose fervid and brilliant rays now pervade +the whole landscape, occasionally darken and cool the atmosphere. +The plants shrink beneath the scorching rays, and resign themselves +to the powerful influence of the ruler of the day. The merry buzz of the +gold-winged beetle and humming-bird becomes more audible. The variegated +butterflies and dragon-flies on the bank of the river, produce, by +their gyratory movements, lively and fantastic plays of colour. The +ground is covered with swarms of ants, dragging along leaves for +their architecture. Even the most sluggish animals are roused by the +stimulating power of the sun. The alligator leaves his muddy bed, and +encamps upon the hot sand; the turtle and lizard are enticed from their +damp and shady retreats; and serpents of every colour crawl along the +warm and sunny footpaths. +</p> +<p> +But now the clouds are lowering; they divide into strata, end, +gradually getting heavier, denser, and darker, at last veil the horizon +in a blueish grey mist. Towards the zenith they tower up in bright +broad-spreading masses, and assume the appearance of gigantic mountains +in the air. All at once the sky is completely overcast, excepting that a +few spots of deep blue still appear through the clouds. The sun is hid, +but the heat of the atmosphere is more oppressive. The noontide is past; +a cheerless melancholy gloom hangs heavily over nature. Fast sink the +spirits; for painful is the change to those who have witnessed the +joyous animation of the morning. The more active animals roam wildly +about, seeking to allay the cravings of hunger and thirst; only the +quiet and slothful, who have taken refuge in the forest, seem to have +no apprehension of the dreadful crisis. But it comes! it rushes on with +rapid strides, and we shall certainly have it here. The temperature is +already lowered; the fierce and clashing gales tear up trees by the +roots. Dark and foaming billows swell the surface of the deeply agitated +sea. The roar of the river is surpassed by the sound of the wind, and +the waters seem to flow silently into the ocean. There the storm rages. +Twice, thrice, flashes of pale blue lightning traverse the clouds in +rapid succession: as often does the thunder roll in loud and prolonged +claps through the firmament. Drops of rain fall. The plants begin to +recover their natural freshness; it thunders again, and the thunder +is followed, not by rain, but by torrents, which pour down from the +convulsed sky. The forest groans; the whizzing rustle of the waving +leaves becomes a hollow murmuring sound, which at length resembles +the distant roll of muffled drums. Flowers are scatterd to and fro, +leaves are stripped from the boughs, branches are torn from the stems, +and massy trees are overthrown; the terrible hurricane ravishes all +the remaining virgin charms of the levelled and devastated plants. +But wherefore regret their fate? Have they not lived and bloomed? +Has not the <i>Inga</i> twisted together its already emptied stamens? +Have not the golden petals fallen from the fractified blossoms of the +Banisèr<i>ia</i>, and has not the fruit-loaded <i>A</i>rum yielded its +faded spathe to the storm? The terrors of this eventful hour fall +heavily even on the animal world. The feathered inhabitants of the woods +are struck dumb, and flutter about in dismay on the ground; myriads of +insects seek shelter under leaves and trunks of trees. The wild Mammàlia +are tamed, and suspend their work of war and carnage; the cold-blooded +Amphíbia alone rejoice in the overwhelming deluge, and millions of +snakes and frogs, which swarm in the flooded meadows, raise a chorus of +hissing and croaking. Streams of muddy water flow through the narrow +paths of the forests into the river, or pour into the cracks and chasms +of the soil. The temperature continues to descend, and the clouds +gradually empty themselves. +</p> +<p> +But at length a change takes place, and the storm which lately raged so +furiously is over. The sun shines forth with renovated splendour through +long extended masses of clouds, which gradually disperse towards the +horizon on the north and south, assuming, as in the morning, light, +vapoury forms, and hemming the azure basis of the firmament. A smiling +deep blue sky now gladdens the earth, and the horrors of the past +<span class="pagenum"><a id="page152" name="page152"></a>[pg 152]</span> +are speedily forgotten. In an hour no trace of the storm is visible; +the plants, dried by the warm sunbeams, rear their heaps with renewed +freshness, and the different kinds of animals obey, as before, their +respective instincts and propensities. +</p> +<p> +Evening approaches, and new clouds appear between the white flaky +fringes of the horizon. They diffuse over the landscape tints of violet +and pale yellow, which harmoniously blends the lofty forests in the +back-ground with the river and the sea. The setting sun, surrounded by +hues of variegated beauty, now retires through the western portals of +the firmament, leaving all nature to love and repose. The soft twilight +of evening awakens new sensations in animals and plants, and buzzing +sounds prove that the gloomy recesses of the woods are full of life and +motion. Love-sighs are breathed through the fragrant perfumes of newly +collapsed flowers, and all animated nature feels the influence of this +moment of voluptuous tranquillity. Scattered gleams of light, reflected +splendours of the departed sun, still float upon the woodland ridges; +while, amidst a refreshing coolness, the mild moon arises in calm and +silent grandeur, and diffusing her silver light over the dark forest, +imparts to every object a new and softened aspect. Night comes;—nature +sleeps, and the etheral canopy of heaven, arched out in awful immensity +over the earth, sparkling with innumerable witnesses of far distant +glories, infuses into the heart of man humility and confidence,—a +divine gift after such a day of wonder and delight!—<i>Mag. Nat. +Hist</i>. No. 24. +</p> +<hr class="full" /> +<h2> + NOTES OF A READER. +</h2> +<hr /> +<h3> +THE BRITISH MUSEUM. +</h3> +<p> +We are happy to learn that the celebrated Arundel MSS., which had been +held for some time by the Royal Society, have recently been transferred +to the British Museum; as well as a valuable addition of coins. +In accordance with the suggestions made during the last Session of +Parliament, the library of the Museum will henceforth be open to the +public every day in the week, except Sundays. +</p> +<p> +During the past year 38,000 individuals visited the Museum, and very +nearly 100,000, namely, 99,852 persons, from all parts of the kingdom, +visited the Library for the purposes of study. +</p> +<p> +By the way, a livery-servant complained, in <i>The Times</i> of the 1st +instant, that he had been refused admission to the Museum on an open and +public day, in consequence of his wearing a livery, notwithstanding he +saw "soldiers and sailors go in without the least objection." <i>The +Times</i> remarks, "We believe livery-servants are not excluded from the +sight at Windsor on an open day. We suspect that the regulation is not +so much owing to any aristocratical notions on the part of the Directors +of the Museum, as to that fastidious feeling which prevails in this +country more than any other, and most of all among the lower ranks of +the middle classes." The cause is reasonable enough; but we believe that +livery-servants are not admitted at Windsor: the exclusion seems to be a +caprice of Royalty, for servants are excluded from our palace-gardens, +as Kensington. Surely this is unjust. If servants consent to wear +liveries to gratify the vanity of their wealthy employers, it is hard to +shut them out from common enjoyments on that account. This is in the +true spirit of vassalage, of which the liveries are comparatively a +harmless relic. In Paris we remember seeing a round-frocked peasant, +apparently just from the plough, pacing the polished floor of the Louvre +gallery with rough nailed shoes, and then resting on the velvet topped +settees; and he was admitted <i>gratis</i>. Would such a person, +tendering his shilling, be admitted to the Exhibition at Somerset House? +</p> +<hr /> +<h3> + DOMESTIC CHEMISTRY. +</h3> +<center> +<i>Elements of Chemistry familiarly explained and practically +illustrated</i>. +</center> +<p> +This is an excellent little work by Mr. Brande: it is not avowedly so, +although everyone familiar with his valuable Manual of Chemistry will +soon identify the authorship. The present is only the first Part of this +petite system, containing Attraction, Heat, Light, and Electricity. +It is, as the author intended it to be, "less learned and elaborate +than the usual systematic works, and at the same time more detailed, +connected, and explicit than the 'Conversations' or 'Catechisms.'" +It avoids "all prolixity of language and the use of less intelligible +terms;" and, to speak plainly, the illustrative applications throughout +the work are familiar as household words. Witness the following extract +from the effects of Heat: +</p> +<center> +<i>Ventilation—Heating Rooms</i>. +</center> +<p> +"In consequence of the <i>lightness</i> of heated air, it always rises +to the upper parts of rooms and buildings, when it either escapes, or, +becoming cooled and +<span class="pagenum"><a id="page153" name="page153"></a>[pg 153]</span> + <i>heavier</i>, again descends. If, in cold weather, +we sit under a skylight in a warm room, a current of cold air is felt +descending upon the head, whilst warmer currents, rising from our bodies +and coming into contact with the cold glass, impart to it their excess +of heat. Being thus contracted in bulk, and rendered specifically +heavier, they in their turn descend, and thus a perpetual motion is kept +up in the mass of air. This effect is attended with much inconvenience +to those who inhabit the room, and is in great measure prevented by the +use of double windows, which prevent the rapid cooling and production of +troublesome currents in the air of the apartment. +</p> +<p> +"We generally observe, when the door of a room is opened, that there are +two distinct currents in the aperture; which may be rendered evident +by holding in it the flame of a candle. At the upper part it is blown +outwards, but inwards at the lower part; in the middle, scarcely any +draught of air, one way or other, is perceptible. +</p> +<p> +"The art of ventilating rooms and buildings is in a great measure +dependent upon the currents which we are enabled to produce in air by +changes of temperature, and is a subject of considerable importance. +As the heated air and effluvia of crowded rooms pass upwards, it is +common to leave apertures in or near the ceiling for their escape. Were +it not, indeed, for such contrivances, the upper parts of theatres and +some other buildings would scarcely be endurable; but a mere aperture, +though it allows the foul air to escape, in consequence of its specific +lightness, is also apt to admit a counter-current of denser and cold +air, which pours down into the room, and produces great inconvenience. +This effect is prevented by heating, in any convenient way, the tube or +flue through which the foul air escapes. A constantly ascending current +is then established; and whenever cold air attempts to descend, the +heat of the flue rarefies and drives it upwards. Thus the different +ventilators may terminate in tubes connected with a chimney; or they +may unite into a common trunk, which may pass over a furnace purposely +for heating it. +</p> +<p> +"In some of our theatres, the gas chandelier is made a very effectual +ventilator. It is suspended under a large funnel, which terminates +in a cowl outside the roof; and the number of burners heat the air +considerably, and cause its very rapid and constant ascent through the +funnel, connected with which there may be other apertures in the ceiling +of the building. But in these and most other cases, we may observe that +the vents are not sufficiently capacious; and the foul air from the +house, and from the gas-burners themselves, not being able readily to +escape, diffuses itself over the upper part of the building, and renders +the galleries hot and suffocating—all which is very easily prevented by +the judicious adjustment of the size of the ventilating channels to the +quantity of air which it is requisite should freely pass through them. +</p> +<p> +"The small tin ventilators, consisting of a rotating wheel, which we +sometimes see in window-panes, are perfectly useless, though it is often +imagined, in consequence of their apparent activity, that they must be +very effectual; but the fact is, that a very trifling current of air +suffices to put them in motion, and the apertures for its escape are so +small as to produce no effectual change in the air of the apartment: +they are also as often in motion by the ingress as by the egress of air. +</p> +<p> +"From what has been said, it will be obvious that our common fires +and chimneys are most powerful ventilators, though their good services +in this respect are often overlooked. As soon as the fire is lighted, +a rapid ascending current of air is established in the chimney, and +consequently there must be a constant ingress of fresh air to supply +this demand, which generally enters the room through the crevices of the +doors and windows. When these are too tight, the chimney smokes or the +fire will not draw; and in such cases it is sometimes necessary to make +a concealed aperture in some convenient part of the room for the +requisite admission of air, or to submit to sitting with a window or +door partly open. Any imperfect action of the chimney, or descending +current, is announced by the escape of smoke into the room, and is +frequently caused by the flue being too large, or not sufficiently +perpendicular and regular in its construction. When there is no fire, +the chimneys also generally act as ventilators; and in summer there is +often a very powerful current up them, in consequence of the roof and +chimney-pots being heated by the sun, and thus accelerating the ascent +of the air. In a well-constructed house there should be sufficient +apertures for the admission of the requisite quantity of air into the +respective rooms, without having occasion to trust to its accidental +ingress through every crack and crevice that will allow it to pass. +These openings +<span class="pagenum"><a id="page154" name="page154"></a>[pg 154]</span> + may either be concealed, or made ornamental, and by +proper management may be subservient to the admission of warm air +in winter." +</p> +<hr /> +<h3> + HENRI III. OF FRANCE. +</h3> +<p> +We quote the following scene from one of the Tales recently published +in three volumes with the general cognomen of <i>Chantilly</i>. It is from +the longest and most successful of the stories called "D'Espignac," +in the time of Henri III., and, as our extract shows, the scenes and +sketches exhibit considerable talent, and a certain graphic minuteness +which has become very popular in modern novels. The tale itself is not +to our purpose, but we promise the reader a <i>petit souper</i> of horrors +from its perusal, especially to those who woo terror to delight them. +The pen is young and feminine, and of high promise. The occasion of the +following scene is an interview of one of the characters with Henri. +</p> +<p> +"It was a small dark apartment, hung round with tapestry, the ceiling +richly decorated with massive ornaments of carved oak, and the floor +covered with a dark-coloured carpet of Turkey manufacture, so thick and +soft that the footsteps fell unheard as they advanced over it. It was +here that the monarch usually spent his leisure hours, and various were +the objects indicative of his tastes and habits scattered around, in a +confusion which completely put to flight all ideas of study or devotion +in the mind of the visiter. On a small table near the door were strewn +divers preparations for the toilette, and cosmetics for improving the +complexion, of which the King used quantities almost incredible, all +prepared by his own hand; and the mixing and arranging of these formed +his greatest delight and amusement. In the recesses on each side the +window stood two highly-polished ebony cases, which Catherine de Medicis +his mother had brought from Italy, for containing books and holy relics; +but for this they were totally useless to the present royal owner, who +applied them to a far different purpose. On the lower shelf next the +ground, were arranged small ornamented baskets, in each of which, on +satin cushions, reposed in regal luxury a litter of spaniel puppies, +which, together with their pampered mother, did not fail to salute with +deafening noise any stranger who entered. The messes, medicines, and +food of these little favourites completely filled the upper shelves, or +only disputed ground with the chains and collars of their predecessors, +a few of whom, rescued from oblivion, stood on the top, seemingly ready +as in life to fly out with inhospitable fury on the approach of +intruders. +</p> +<p> +"The upper compartments of the window were of painted glass, and cast a +dismal light through the apartment, while the lower panes were darkened +by the hawk-mews raised on the terrace, that the King might enjoy the +daily satisfaction of seeing the birds fed before his eyes. On a table +near the window stood an inkstand, with various implements for writing, +but from the sorry condition in which they appeared, and the confusion +prevailing around, it was evident they were but seldom used. Small was +the space, however, allotted to such unimportant objects. His Majesty +had been deeply engaged during the morning tending a sick puppy, which +having washed in sweet water, and combed with a gilt comb, he had +adorned with ribbons, and placed in a basket by his side; mixing a +scented paste for whitening the hands, preparing a wash for the skin, +binding the broken leg of a wounded merlin, and finally seeking +relief from such engrossing pursuits in the favourite recreation of +disburdening a precious missal of its exquisite illuminations, in order +to ornament the walls and enliven the chamber! It was at this table +that Henri himself was seated, with his head resting on his hands, and +apparently buried in thought. The noisy greeting of the spaniels as +La Vallée entered caused him to start, and he turned towards the door +an anxious unquiet look, bespeaking distrust and apprehension, which, +however, quickly changed to one of pleasure as he heard the name and +recognised the features of his visiter. +</p> +<p> +"The King was at that time in the very flower of his age, and yet +he appeared no longer young. The cares of royalty, the murder of the +Guises, had planted many a deep and lasting furrow on his brow, which +time would have otherwise withheld for many years. His pallid cheek +and sunken eye told of a mind but ill at ease. No art, no charm could +restore the bloom and freshness which remorse for the past and fear for +the future had long ago dispelled, never to return. And yet, with that +sweet self-deception which all are so disposed to practise, he sought +to banish reflection and beguile alarm in the pursuit of all kinds of +frivolous amusements unworthy of his rank or station, and fancied he +had succeeded in chasing care if for a moment he ceased to think. +</p> +<p> +<span class="pagenum"><a id="page155" name="page155"></a>[pg 155]</span> +</p> +<p> +"His costume even now was foppish and <i>recherché</i>. Much time had +evidently been spent in adjusting the drooping leathers of his jewelled +toque, and no pains had been spared in properly disposing the plaits +of his <i>fraise</i> and ruffles, or in arranging the folds of his +broidered mantle. The snow-white slippers, with the sky-blue roses, the +silken hose and braided doublet, seemed better fitted for the parade of +the courtly saloon than the privacy of the closet. The hand he extended +to the Count was like that of a youthful beauty, rather than of one who +had once wielded sword with the bravest. Every finger was adorned with +a costly jewel, which flashed and sparkled in the light as he waved his +hand in token of welcome, and, pointing to a chair, bade his visiter be +seated." +</p> +<hr class="full" /> +<h2> + SPIRIT OF THE PUBLIC JOURNALS. +</h2> +<hr /> +<h3> + THE LAW OF ARREST. A TALE FROM FACTS. +</h3> +<p> +Once upon a time there lived at Hamburgh a certain merchant of the name +of Meyer—he was a good little man; charitable to the poor, hospitable +to his friends, and so rich that he was extremely respected, in spite +of his good nature. Among that part of his property which was vested +in other people's hands, and called debts, was the sum of five hundred +pounds owed to him by the Captain of an English vessel. This debt had +been so long contracted that the worthy Meyer began to wish for a new +investment of his capital. He accordingly resolved to take a trip to +Portsmouth, in which town Captain Jones was then residing, and take that +liberty which in my opinion should in a free country never be permitted, +viz. the liberty of applying for his money. +</p> +<p> +Our worthy merchant one bright morning found himself at Portsmouth; he +was a stranger to that town, but not unacquainted altogether with the +English language. He lost no time in calling on Captain Jones. +</p> +<p> +"And vat?" said he to a man whom he asked to show him to the Captain's +house, "vat is dat fine veshell yondare?" +</p> +<p> +"She be the Royal Sally," replied the man, "bound for Calcutta—sails +to-morrow; but here's Captain Jones's house, Sir, and he'll tell you +all about it." +</p> +<p> +The merchant bowed, and knocked at the door of a red brick house—door +green—brass knocker. Captain Gregory Jones was a tall man; he wore a +blue coat without skirts; he had high cheek bones, small eyes, and his +whole appearance was eloquent of what is generally termed the bluff +honesty of the seaman. Captain Gregory seemed somewhat disconcerted at +seeing his friend—he begged for a little further time. The merchant +looked grave—three years had already elapsed. The Captain demurred—the +merchant pressed—the Captain blustered—and the merchant, growing +angry, began to threaten. All of a sudden Captain Jones's manner +changed—he seemed to recollect himself, begged pardon, said he could +easily procure the money, desired the merchant to go back to his inn, +and promised to call on him in the course of the day. Mynheer Meyer went +home, and ordered an excellent dinner. Time passed—his friend came not. +Meyer grew impatient. He had just put on his hat and was walking out, +when the waiter threw open the door, and announced two gentlemen. +</p> +<p> +"Ah, dere comes de monish," thought Mynheer Meyer. The gentlemen +approached—the taller one whipped out what seemed to Meyer a receipt. +"Ah, ver well, I vill sign, ver well!" +</p> +<p> +"Signing, Sir, is useless; you will be kind enough to accompany us. This +is a warrant for debt, Sir; my house is extremely comfortable—gentlemen +of the first fashion go there—quite moderate, too, only a guinea +a-day—find your own wine." +</p> +<p> +"I do—no—understand, Sare," said the merchant, smiling amiably, +"I am ver vell off here—thank you—" +</p> +<p> +"Come, come," said the other gentleman, speaking for the first time, +"no parlavoo Monsoo, you are our prisoner—this is a warrant for the +sum of 10,000l. due to Captain Gregory Jones." +</p> +<p> +The merchant stared—the merchant frowned—but so it was. Captain +Gregory Jones, who owed Mynheer Meyer 500l., had arrested Mynheer Meyer +for 10,000l.; for, as every one knows, any man may arrest us who has +conscience enough to swear that we owe him money. Where was Mynheer +Meyer in a strange town to get bail? Mynheer Meyer went to prison. +</p> +<p> +"Dis be a strange vay of paying a man his monish!" said Mynheer Meyer. +</p> +<p> +In order to wile away time, our merchant, who was wonderfully social, +scraped acquaintance with some of his fellow-prisoners. "Vat be you in +prishon for?" said he to a stout respectable-looking man who seemed in +a violent passion—"for vhat crime?" +</p> +<p> +"I, Sir, crime!" quoth the prisoner; +<span class="pagenum"><a id="page156" name="page156"></a>[pg 156]</span> + "Sir, I was going to Liverpool +to vote at the election, when a friend of the opposite candidate had +me suddenly arrested for 2,000l. Before I get bail the election will +be over!" +</p> +<p> +"Vat's that you tell me? arrest you to prevent your giving an honesht +vote? is that justice?" +</p> +<p> +"Justice, no!" cried our friend, it's the Law of Arrest." +</p> +<p> +"And vat be you in prishon for?" said the merchant pityingly to a thin +cadaverous-looking object, who ever and anon applied a handkerchief to +eyes that were worn with weeping. +</p> +<p> +"An attorney offered a friend of mine to discount a bill, if he could +obtain a few names to indorse it—<i>I</i>, Sir, indorsed it. The bill +became due, the next day the attorney arrested all whose names were +on the bill; there were eight of us, the law allows him to charge two +guineas for each; there are sixteen guineas, Sir, for the lawyer—but +I, Sir—alas my family will starve before <i>I</i> shall be released. +Sir, there are a set of men called discounting attorneys, who live upon +the profits of entrapping and arresting us poor folk." +</p> +<p> +"Mine Gott! but is dat justice?" +</p> +<p> +"Alas! No, Sir, it is the law of arrest." +</p> +<p> +"But," said the merchant, turning round to a lawyer, whom the Devil had +deserted, and who was now with the victims of his profession; "dey tell +me, dat in Englant a man be called innoshent till he be proved guilty; +but here am I, who, because von carrion of a shailor, who owesh me five +hundred pounts, takes an oath that <i>I</i> owe him ten thousand—here am +I, on that schoundrel's single oath, clapped up in a prishon. Is this +a man's being innoshent till he is proved guilty, Sare?" +</p> +<p> +"Sir," said the lawyer primly, "you are thinking of criminal cases; +but if a man be unfortunate enough to get into debt, that is quite a +different thing:—we are harder to poverty than we are to crime!" +</p> +<p> +"But, mine Gott! is that justice?" +</p> +<p> +"Justice! pooh! it's the law of arrest," said the lawyer, turning on +his heel. +</p> +<p> +Our merchant was liberated; no one appeared to prove the debt. He flew +to a magistrate; he told his case; he implored justice against Captain +Jones. +</p> +<p> +"Captain Jones!" said the magistrate, taking snuff; "Captain Gregory +Jones, you mean!" +</p> +<p> +"Ay, mine goot Sare—yesh!" +</p> +<p> +"He set sail for Calcutta yesterday. He commands the Royal Sally. +He must evidently have sworn this debt against you for the purpose of +getting rid of your claim, and silencing your mouth till you could +catch him no longer. He's a clever fellow is Gregory Jones!" +</p> +<p> +"De teufel! but, Sure, ish dere no remedy for de poor merchant?" +</p> +<p> +"Remedy! oh, yes—indictment for perjury." +</p> +<p> +"But vat use is dat? You say he be gone—ten thousand miles off—to +Calcutta!" +</p> +<p> +"That's certainly against your indictment!" +</p> +<p> +"And cannot I get my monish?" +</p> +<p> +"Not as I see." +</p> +<p> +"And <i>I</i> have been arreshted instead of him!" +</p> +<p> +"You have." +</p> +<p> +"Sare, I have only von vord to say—<i>is</i> dat justice?" +</p> +<p> +"That I can't say, Mynheer Meyer, but it is certainly the law of +arrest," answered the magistrate; and he bowed the merchant out of +the room. +</p> +<h4> +<i>New Monthly Magazine</i>. +</h4> +<hr /> +<h3> + SONGS FOUND IN A GRECIAN URN. +</h3> +<center> + THE FIRST-BORN. +</center> +<div class="poem"><div class="stanza"> + <p> Beautiful, O woman! the sun on flower and tree,</p> + <p> And beautiful the balmy wind that dreameth on the sea;</p> + <p> And softly soundeth in thine ear, the song of peasants reaping,</p> + <p> The dove's low chant among the leaves, its twilight vigil keeping.</p> +</div><div class="stanza"> + <p> And beautiful the hushing of the linnet in her nest,</p> + <p> With her young beneath her wings, and the sunset on her breast:</p> + <p> While hid among the flowers, where the dreamy bee is flitting,</p> + <p> Singing unto its own glad heart, the poet child is sitting.</p> +</div><div class="stanza"> + <p> It stirreth up the soul, upon the golden waves to see,</p> + <p> The galley lifting up her crowned head triumphantly—</p> + <p> Io! Io! now she laugheth like a Queen of Araby,</p> + <p> While Joy and Music strew with flowers the pathway of her Chariotry!</p> +</div><div class="stanza"> + <p> And beautiful unto thy soul, at summer time to wait,</p> + <p> Till Moonlight with her sweet pale feet, comes dancing to thy gate;</p> + <p> Thy violet-eyes upturn'd unto thy love with timid grace,</p> + <p> He feels thine arm about his neck, thy kisses on his face.</p> +</div><div class="stanza"> + <p> Beautiful, O gentle girl, these pleasant thoughts to thee,</p> + <p> These chosen sheaves, long harvested within thy memory!</p> + <p> But when thy face grows dim, with weariness and care,</p> + <p> Thy heart, forgetting all its songs, awaketh but to prayer!</p> +</div><div class="stanza"> + <p> Thou lookest for a gleeful face, thine opening eyes to greet,</p> + <p> While coldness gathers on thy breast, the shadow round thy feet—</p> +<span class="pagenum"><a id="page157" name="page157"></a>[pg 157]</span> + <p> Beautiful, O woman, the green earth and the flowers may be,</p> + <p> But sweeter in that hour the voice of thy First-born Child to thee!</p> +</div><div class="stanza"> +</div></div> +<hr /> +<center> + THE ATHENIAN LOVER TO HIS MISTRESS. +</center> +<div class="poem"><div class="stanza"> + <p> The spirit of mine eyes is faint</p> +<p class="i2"> With gazing on thy light;</p> + <p> I close my eyelids, but within,</p> +<p class="i2"> Sweet, thou art shining bright,</p> + <p> Sitting amid the purple gloom,</p> +<p class="i2"> Like a flower-bird at night!</p> +</div><div class="stanza"> + <p> Thy beauty walketh by my side</p> +<p class="i2"> By the green wood, on the sea;</p> + <p> I hear thee in the bird that sings</p> +<p class="i2"> Upon the orange-tree;</p> + <p> Thy face upon the haunted streams</p> +<p class="i2"> Is looking up to me.</p> +</div><div class="stanza"> + <p> Gentle one, in grief I linger</p> +<p class="i2"> Beside the glimmering nest,</p> + <p> Till evening sinketh in the flowers,</p> +<p class="i2"> Like a weary fawn to rest,</p> + <p> Yea, my heart is sick with longing</p> +<p class="i2"> To dream upon thy breast!</p> +</div><div class="stanza"> + <p> From the dark of their golden lids</p> +<p class="i2"> Thy singing eyes look out,</p> + <p> Like doves in the olives hearing</p> +<p class="i2"> The shepherd's jocund shout,</p> + <p> As he wandereth with his pipe</p> +<p class="i2"> The sunny glen about.</p> +</div><div class="stanza"> + <p> I have opened mine eyes—</p> +<p class="i2"> Thy beauty will not part,</p> + <p> But thy feet are dancing round me,</p> +<p class="i2"> Lovely! that thou art—</p> + <p> The sweet breath of thine eyes doth fall,</p> +<p class="i2"> Like odour on my heart!</p> +</div><div class="stanza"> +</div></div> +<hr /> +<center> + TO AN ARCADIAN CHILD SLEEPING. +</center> +<div class="poem"><div class="stanza"> + <p> Sleep on—sleep on—the silver flowers</p> +<p class="i2"> A pillow for thy head may be,</p> + <p> While Evening with her band of hours</p> +<p class="i2"> Sits by thee silently.</p> +</div><div class="stanza"> + <p> From Morning in the vine-yards straying—</p> +<p class="i2"> Sweet child, so fair and meek!</p> + <p> She lieth down, and tired of playing,</p> +<p class="i2"> Darkens the bright grass with her cheek.</p> +</div><div class="stanza"> + <p> One arm upon her eyes she foldeth,</p> +<p class="i2"> O'er which her hair is softly fann'd,</p> + <p> And still with fainting grasp she holdeth</p> +<p class="i2"> The lilies in her hand.</p> +</div><div class="stanza"> + <p> Oh—wake her not! the forest streams</p> +<p class="i2"> With balmy lips are breathing rest;</p> + <p> Nor stir the garland of sweet dreams</p> +<p class="i2"> Which Sleep hath bound upon her breast.</p> +</div></div> +<h4> +<i>New Monthly Magazine</i>. +</h4> +<hr class="full" /> +<h2> +THE SELECTOR; AND LITERARY NOTICES OF <i>NEW WORKS</i>. +</h2> +<hr /> +<h3> + ADVENTURES OF A YOUNGER SON. +</h3> +<p> +These are three volumes of spirit-stirring scenes, understood to +be written by Captain Trelawney, the friend of Lord Byron. They are +said to embody many incidents of the early life of the writer, though +portions are too strongly tinged with romance to belong to sober +reality. The Younger Son is driven from his native hearth by a cruel +father. His proud spirit revolts at such oppression. He sings with Byron +</p> +<div class="poem"><div class="stanza"> + <p> And now I'm in the world alone,</p> +<p class="i2"> Upon the wide wide sea;</p> + <p> But why should I for others groan,</p> +<p class="i2"> When none will sigh for me.</p> +</div></div> +<p> +His father intends him for the church, but instead of being sent to +Oxford, he is taken to Portsmouth, and shipped on board a line of battle +ship, the Superb, as passenger to join one of Nelson's squadron; but +through delay he falls in with the Nelson fleet of Trafalgar, two days +after the deathless victory. He returns to England, and is sent to Dr. +Burney's navigation school. He next sails for the East Indies, and at +Bombay he falls in with an adventurous stranger, whom he is minute in +describing, "to account in part for the extraordinary influence he +gained, on so short an acquaintance," over his mind and imagination. +He became his model. The height of his ambition was to imitate him, +even in his defects. Thenceforth his life of adventure begins. In its +progress, he describes many beautiful scenes in the East with touching +enthusiasm, and some of his pictures of luxuriant nature are admirably +painted. +</p> +<p> +We pass over these to the heroine, at Port St. Louis: +</p> +<center> +<i>An Arabian Beauty</i>. +</center> +<p> +"Zela had the blood of a fearless race. She had been bred and +schooled amidst peril always at hand. Not having learnt to affect +what she did not feel, she crossed ravines, wound along precipices, +and waded through streams and rivers, not only without impeding us +by enacting a pantomimic representation of fears, tears, entreaties, +prayers, screaming, and fainting, but she was such a simpleton as not +even to notice them, unless, in the usual sweet, low tone of her voice, +to remark that they were delightful places to sit in, during the sultry +part of the day; or she would stop her pony over a precipice to gather +some curious flowers, drooping from a natural arch; or to pluck the +pendant and waving boughs of the most graceful of Indian tress, the +imperial mimosa, sensitive and sacred as love, shrinking from the +touch of the profane. +</p> +<p> +"'Put this,' she said, holding out a branch, 'in your turban; for I am +sure in some of these hollow caves and dreary chasms the ogres live; +they feed their young with human blood, and they love to give them the +young and beautiful. Put it in your turban, brother,—since you say I +must not call you master;—and never frown,—I do not like to see it, +for then you are not so handsome,—I mean, good, as when you smile. +Do not laugh, but take it. It will preserve +<span class="pagenum"><a id="page158" name="page158"></a>[pg 158]</span> + you from every spell and +magic. Nothing bad dares come near it.' +</p> +<p> +"While crossing a sandy level, suddenly she started, as her eye caught +some object. Without stopping her horse, which was ambling along, she +sprang off, and ran up a sand hill, like a white doe. Never having +witnessed any thing like this before, I was so astonished that she was +returning, ere I could overtake her to ask if an ogre had lured her with +his evil eye. 'O, no,' she cried,—'look here! You like flowers, but did +you ever see any so lovely as this?—Smell it,—'tis so sweet, that the +rose, if growing near it, loses its beauty and fragrance, from envy of +its rival.' +</p> +<p> +"Certainly I thought she was bewitched. It was a glaring, large, red +bough, full of blowzy blossoms, and yellow berries, with a musky, foeted +odour. 'Why,' I exclaimed, 'you have as much reason to be jealous of old +Kamalia, your nurse, as the rose to be jealous of such a scraggy bramble +as this! Faugh! the smell makes me sick.' +</p> +<p> +"I suppose I was instigated to make this rude speech by her fondling +and kissing it. Her dark eyes expanded; and she seemed, for an instant, +to view me with astonishment, then with sorrow; as they closed, I +perceived that their brightness was gone, and the long, jetty fringe, +which arched upwards as it pressed her cheek, was covered with little +pearly dew-drops. The branch fell from her hand under my feet, her +sprightly form drooped, and the tones of her voice reminded me of the +time when she hung over her dying parent, as she said,—'pardon me, +stranger! I had forgotten you are not of my father's land. This tree +covered my father's tent, sheltered us from the sun, and kept away the +flies, when we slept in the day. Our virgins wreathe it in their hair, +and, if they die, it is strewed over their graves. So, I can't help +loving it better than any thing. But, since you say it makes you sick, +I won't love it, or gather it any more.' Then her words became almost +inarticulate from sobbing, as she added,—'Why should I wear it now? +I belong to a stranger!. My father is gone!' +</p> +<p> +"I need scarcely say that I not only returned the flowers, and pleaded +my ignorance, but I went up to the hill, and pulled up the tree by the +roots. 'Sweet sister,' said I, 'I was only angry with it because you +abused the favoured tree of our country, the rose. But now, as the sun +shines on it, and I see it nearer,'—looking at her,—'I do think the +rose may envy it, as the loveliest of my country women might envy you. +I'll plant it in our garden.' +</p> +<p> +"'O, how good you are!' she exclaimed; 'and I'll plant a rose-tree near +it, and they shall mingle their sweets; for our love and care of them +will make them live together without envy. Every thing should love each +other. I love every tree, and fruit, and flower.' +</p> +<p> +"Still I observed, as her thin robes were disarranged, that her little +downy bosom fluttered like an imprisoned bird panting for liberty; and, +to turn her thoughts from what had pained her, I said,—'Do not fear, +dear Zela. That is the last stream we have to cross; and then we shall +ride over that beautiful plain.' +</p> +<p> +"'O, stranger!' she replied, 'Zela never feared any thing, but her +father, when angry; and then, those who feared not to gaze on the +lightning, when all the world appeared to be on fire, feared to look +in his face. Then his voice was louder than the thunder, and his lance +deadlier than the thunderbolt. Last evening, when you talked to that +tall man, who is so gentle, you looked like my father; and I thought you +were going to kill him, and I wanted to tell you not; for I have read +his eyes, and he loves you much. It is very bad to be angry with those +that love us.' +</p> +<p> +"'Oh, you mean Aston! No, dear, I was not angry with him. I love him +too. We were talking of the horrid cruelties practised on the poor +slaves here; and I was angry at that.' +</p> +<p> +"'I wish I knew your language! How I should have loved to hear you! And +then I should have slept; but being ignorant of that, I did nothing but +weep, because I thought I saw you angry with one that loves you.'" +</p> +<hr /> +<p> +"It was only in Zela's absence that I could dwell on her portraiture. +She had just turned her fourteenth year; and though certainly not +considered, even in the east, as matured, yet, forced like a flower, +fanned by the sultry west wind, into early developement, her form, like +its petals bursting through the bud, gave promise of the rarest beauty +and sweetness. Nurtured in the shade, her hue was pale, but contrasted +with the date-coloured women about her, the soft and transparent +clearness of her complexion was striking; and it was heightened by +clouds of the darkest hair. She looked like a solitary star unveiled +in the night, The breadth and depth of her clear and smooth forehead +were partly hidden by the even silky line from which the hair +<span class="pagenum"><a id="page159" name="page159"></a>[pg 159]</span> + arose, +fell over in rich profusion, and added to its brightness; as did the +glossy, well-defined eye-brow, boldly crossing the forehead, slightly +waved at the outer extremities, but not arched. Her eyes were full, even +for an orientalist, but neither sparkling nor prominent, soft as the +thrush's. It was only when moved by joy, surprise, or sorrow, that the +star-like iris dilated and glistened, and then its effect was most +eloquent and magical. The distinct ebon-lashes which curtained them were +singularly long and beautiful; and when she slept they pressed against +her pale cheeks, and were arched upwards. +</p> +<p> +"That portion of the eye, generally of a pearly whiteness, in hers was +tinted with a light shade of blue, like the bloom on a purple grape, or +the sky seen through the morning mist. Her mouth was harmony and love; +her face was small and oval, with a wavy outline of ineffable grace +descending to her smooth and unruffled neck, thence swelling at her +bosom, which was high, and just developing into form. Her limbs were +long, full, and rounded, her motion was quick, but not springy, light +as a zephyr. As she then stood canopied beneath the dense shade of that +sacred Hindoo tree, with its drooping foliage hanging in clusters round +her, in every clasped and sensitive leaf of which a fairy is said to +dwell, I fancied she was their queen, and must have dropped from one of +the leaves, to gambol and wanton among the flowers below. Running to +her, I caught her in my arms, and said, 'I watched your fall, and have +you now, dear sprite, and will keep you here!'—pressing her to my +bosom. +</p> +<p> +"'Oh, put me down! You hurt me,—I have not fallen,—oh, let me go!' +</p> +<p> +"'Will you promise then not to take flight to your leafy dwelling, in +that your fairy kingdom-tree?' +</p> +<p> +"'What do you mean? Oh, let me go,—you'll crush me!' +</p> +<p> +"I gently placed her on the ground, and told her my fears. The instant +I unclutched her, she ran to her old attendant, scared like a young +leveret; and this was my first embrace of my Arab maid. +</p> +<p> +"That it may not be considered I exaggerate, when speaking of the Arabs +in India generally, I must refer the reader to what a recent, learned, +and unprejudiced traveller says of them: 'The Arabs are numerous in +India; their comparative fairness, their fine, bony, and muscular +figures, their noble countenances, and picturesque dress, intelligent, +bold, and active,' &c. +</p> +<p> +"Zela's father was all this, and her mother a celebrated beauty brought +from the Georgian Caucasus, and twice made captive by the chance of war. +After giving birth to Zela, she looked, and saw her own image in her +child, blessed it, and yielded up her mortality. Is it to be marvelled +at, that the offspring of such parents was as I have described, or +rather what I have attempted to describe? For I am little skilled in +words, or words are insufficient to represent what the eye sees, and +the heart feels." +</p> +<p> +We must return to these very attractive volumes. +</p> +<hr class="full" /> +<h2> + THE GATHERER. +</h2> +<hr /> +<p> +<i>A Mistake</i>.—In consequence of some transposition by which an +announcement of the decease of a country clergyman had got inserted +amongst the announcements of the marriages in a country paper a few +days since, the announcement read thus: "Married the Rev. ——, curate +of ——, to the great regret of all his parishioners, by whom he was +universally beloved. The poor will long have cause to lament the +unhappy event." +</p> +<p> +<i>New Bankrupt Court</i>.—One of the inferior judges, whose salaries +are, by the Act, to be paid out of the fees, seeing that the whole +amount was absorbed by the chief, observed to an associate on the bench, +"Upon my word, R——, I begin to think that our appointment is all a +matter of moonshine." "I hope it may be so," replied R——, "for then +we shall soon see the first quarter." +</p> +<p> +The same humorous judge had listened to a very long argument on a +particular case in which the counsel rested much upon a certain act of +parliament. His opponent replied, "You need not rely on <i>that</i> act, +for its teeth have been drawn by so many decisions against it, that it +is worth nothing." Still the counsel argued on, and insisted on its +authority; after listening to which for a good hour, his lordship drily +remarked, "I do believe all the teeth of this act have been drawn, for +there is nothing left but the jaw."—<i>Literary Gazette</i>. +</p> +<p> +<i>Criticism</i>.—A print of a wounded leopard is described by a +contemporary as "a powerful exhibition of animal agony." Did our critic +ever hear of vegetable agony? +</p> +<p> +<i>Humbug</i>.—A correspondent of the <i>Times</i> says "Every body is not +acquainted with the etymology of the word +<span class="pagenum"><a id="page160" name="page160"></a>[pg 160]</span> + Humbug. It is a corruption +of Hamburgh, and originated in the following manner: During a period +when war prevailed on the Continent, so many false reports and lying +bulletins were fabricated at Hamburgh, that, at length, when any one +would signify his disbelief of a statement, he would say, 'You had +that from Hamburgh;' and thus, 'That is Hamburgh,' or 'Humbug,' became +a common expression of incredulity." +</p> +<p> +<i>A Clincher</i>.—An American paper says, this is the method of catching +tigers in India:—"A man carries a board, on which a human figure is +painted; as soon as he arrives at the den, he knocks behind the board +with a hammer; the noise rouses the tiger, when he flies in a direct +line at the board, and grasps it, and the man behind clinches his claws +in the wood, and so secures him." +</p> +<p> +<i>Franking Letters</i>.—The Princess Augusta asked Lord Walsingham for +a frank; he wrote one for her in such detestable characters that, at the +end of a week, after having wandered half over England, it was opened, +and returned to her as illegible. The Princess complained to Lord +Walsingham, and he then wrote the frank for her so <i>legibly</i>, that at +the end of a couple of days, it was returned to her, marked +"FORGERY."—<i>The Town</i>. +</p> +<center> +<i>Epigram from Scarron</i>. +</center> +<div class="poem"><div class="stanza"> + <p> A Confessor was caugh t'other day rather jolly,</p> + <p> Who observed, "When a man has committed a folly,</p> + <p> If he has any sense left, hastens straightway to me,</p> + <p> When, confessing his guilt, I can soon set him free;</p> + <p> But how hard is my fate! for when wrong I have done,</p> + <p> Absolution's denied me by every one;</p> + <p> In which case, that I may from conscience escape,</p> + <p> Take refuge from thought in the juice of the grape."</p> +</div></div> +<h4> +M.T. +</h4> +<p> +<i>Signs</i>.—To trace the origin of signs would be an amusing relaxation +for the Society of Antiquaries. Who could have imagined that "bag o' +nails," was a corruption of the Bacchanals, which it evidently is from +the rude epigraph still subjoined to the fractured classicism of the +title? In the same manner the more modern "Goat and compasses" may be +identified with the text of "God encompasseth us," which was a favourite +motto amongst the ale-house Puritans.—<i>Blackwood's Magazine</i>. +</p> +<p> +<i>Half-honesty</i>.—A few nights since a friend gave a hackney-coachman +two sovereigns instead of two shillings for his fare; when the coachman +turned sharply and said, "Sir, you have given me a sovereign," keeping +back the other; for which supposed honesty he was rewarded. +</p> +<h4> +C.D. +</h4> +<p> +<i>Proxy</i>.—In 1436, we find the Bishop of Hola, in Iceland, whimsically +enough hiring the master of a London merchant ship to sail to Iceland as +his proxy, and to perform the necessary visitation of his see; the good +prelate dreading in person to encounter the boisterous northern ocean. +</p> +<h4> +T. GILL. +</h4> +<p> +<i>Swelled Ankles at a Discount</i>.—In the year 1699, when King William +returned from Holland in a state of severe indisposition, he sent for +Dr. Radcliffe, and showing him his swollen ankles, while the rest of +his body was emaciated, said, "What think you of these?" "Why truly," +replied the doctor, "I would not have your majesty's two legs for your +three kingdoms." This freedom was never forgiven by the king, and no +intercession could ever recover his favour towards Radcliffe. +</p> +<h4> +P.T.W. +</h4> +<p> +Judge Rumsey was so excellent a lawyer that he was called the <i>Picklock +of the Law</i>. +</p> +<p> +<i>Commerce and Theft</i> in every age and country have gone regularly +together. Commerce accumulates riches, supplies the commodities to be +stolen, supplies therefore the temptation, and puts the temptation in +the way. Mercury was the God at once of Peace, of Merchants, and of +Thieves; and it is not very long since an African king said he designed +to send his son to Europe, "to read book and be rogue like white man." +</p> +<h4> +T. GILL. +</h4> +<hr class="full" /> +<blockquote class="footnote"> +<a id="footnote1" name="footnote1"></a> +<b>Footnote 1</b>: +<a href="#footnotetag1">(return)</a> +<p> +Member of the Royal College of Surgeons in London, &c. +</p> +</blockquote> +<blockquote class="footnote"> +<a id="footnote2" name="footnote2"></a> +<b>Footnote 2</b>: +<a href="#footnotetag2">(return)</a> +<p> +United Service Journal, Jan. 1832. +</p> +</blockquote> +<blockquote class="footnote"> +<a id="footnote3" name="footnote3"></a> +<b>Footnote 3</b>: +<a href="#footnotetag3">(return)</a> +<p> +I did not observe them take the trouble of wrapping up the + ingredients together, as is customary in India; but some would + eat the betel leaf, previously dipping it in some lime (made + from burnt coral) which he held in his hand, and ate the + areka-nut afterwards; they had no tobacco to eat with it, nor + did I hear them inquire for any. +</p> +</blockquote> +<hr class="full" /> +<center> +With many Engravings, price 5<i>s</i>. +<br /> +<b>ARCANA OF SCIENCE</b> +<br /> +And Annual Register of the Useful Arts for 1832. +</center> +<center> +Fifth Year. +</center> +<p> +"This work is exceedingly valuable, and may be considered as an +Encyclopaedia, to which the most eminent of their time are constantly +contributing."—<i>New Monthly Magazine, March</i>. +</p> +<center> +Printed for JOHN LIMBIRD, 143, Strand. +</center> +<hr class="full" /> +<p> +<i>Printed and published by J. LIMBIRD, 143, Strand, (near Somerset +House,) London; sold by ERNEST FLEISCHER, 626, New Market, Leipsic; +G.G. BENNIS, 55, Rue Neuve, St. Augustin, Paris; and by all Newsmen +and Booksellers.</i> +</p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK THE MIRROR OF LITERATURE, AMUSEMENT, AND INSTRUCTION, VOL. 19, NO. 537, MARCH 10, 1832***</p> +<p>******* This file should be named 12497-h.txt or 12497-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="https://www.gutenberg.org/1/2/4/9/12497">https://www.gutenberg.org/1/2/4/9/12497</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution.</p> + + + +<pre> +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +<a href="https://gutenberg.org/license">https://gutenberg.org/license)</a>. + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + +<a href="https://www.gutenberg.org">https://www.gutenberg.org</a> + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. + +<a href="https://gutenberg.org/etext06/">https://gutenberg.org/etext06</a> + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + +https://www.gutenberg.org/1/0/2/3/10234 + +or filename 24689 would be found at: +https://www.gutenberg.org/2/4/6/8/24689 + +An alternative method of locating eBooks: +<a href="https://www.gutenberg.org/GUTINDEX.ALL">https://www.gutenberg.org/GUTINDEX.ALL</a> + +*** END: FULL LICENSE *** +</pre> +</body> +</html> diff --git a/12497-h/12497-h.htm~ b/12497-h/12497-h.htm~ new file mode 100644 index 0000000..391757d --- /dev/null +++ b/12497-h/12497-h.htm~ @@ -0,0 +1,1684 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" +"http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> +<title>The Project Gutenberg eBook of The Mirror of Literature, Amusement, and Instruction, Vol. 19, No. 537, March 10, 1832, by Various</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.i4 {margin-left: 2em;} + .poem p.i6 {margin-left: 3em;} + .poem p.i8 {margin-left: 4em;} + .figure {padding: 1em; margin: 0; text-align: center; font-size: 0.8em; margin: auto;} + .figure img {border: none;} + .figure p + a:link {color:blue; + text-decoration:none} + link {color:blue; + text-decoration:none} + a:visited {color:blue; + text-decoration:none} + a:hover {color:red} + pre {font-size: 9pt;} + --> + </style> +</head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 12497 ***</div> +<h1>The Project Gutenberg eBook, The Mirror of Literature, Amusement, and +Instruction, Vol. 19, No. 537, March 10, 1832, by Various</h1> +<br /> +<br /> +<center><b>E-text prepared by Jonathan Ingram, David Garcia,<br /> + and the Project Gutenberg Online Distributed Proofreading Team</b></center> +<br /> +<br /> + <hr class="full" /> + <span class="pagenum"><a id="page145" name="page145"></a>[pg 145]</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. XIX, NO. 537.]</b></td> + <td align="center"><b>SATURDAY, MARCH 10, 1832.</b></td> + <td align="right"><b>[PRICE 2d.</b></td> + </tr> + </table> + <hr class="full" /> +<h2> + POLYNESIAN ISLANDS. +</h2> +<div class="figure" style="width: 100%;"> +<a href="images/537-1.png"><img width="100%" src="images/537-1.png" +alt="Tucopia." /></a> +<center>TUCOPIA.</center> +</div> +<div class="figure" style="width: 100%;"> +<a href="images/537-2.png"><img width="100%" src="images/537-2.png" +alt="Piercy Islands" /></a> +<center>PIERCY ISLANDS.</center> +</div> +<p> +Mr. George Bennett,<a id="footnotetag1" name="footnotetag1"></a><a href="#footnote1"><sup>1</sup></a> whose "Journals" and "Researches" denote him to +be a shrewd and ingenious observer, has favoured us with the original +sketches of the above cuts. They represent three of the spots that stud +the Southern Pacific Ocean. The first beams with lovely luxuriance in +its wood-crowned heights; while the second and third rise from the bosom +of the sea in frowning sterility +<span class="pagenum"><a id="page146" name="page146"></a>[pg 146]</span> + amidst the gay ripple that ever and +anon laves their sides, and plashes in the brilliancy of the sunbeam. +</p> +<p> +Tucopia, or Barwell's Island, has recently been elsewhere described by +Mr. Bennett.<a id="footnotetag2" name="footnotetag2"></a><a href="#footnote2"><sup>2</sup></a> His sketch includes the S.W. side of the island, and +his entertaining description is as follows: +</p> +<p> +"This small but elevated and wooded island was discovered by the +ship Barwell in 1798; it was afterwards (1810) visited by the French +navigators, who called it by the native name Tucopia. On the S.W. side +of the island is a wooded, picturesque valley, surrounded by lofty +mountains, and containing a small but well-inhabited village. Two +singularly isolated basaltic rocks, of some elevation, partially bare, +but at parts covered by shrubs, rise from about the centre of the +valley. When close in, two canoes came off containing several natives, +who readily came on board; two of them had been in an English whaler, +(which ships occasionally touched at the island for provisions, &c.) and +addressed us in tolerable English. They were well formed, muscular men, +with fine and expressive features, of the Asiatic race, in colour of a +light copper; they wore the hair long, and stained of a light brown +colour; they were tattooed only on the breast, which had been executed +in a neat vandyked form; the ears, as also the septum narium, were +perforated, and in them were worn tortoiseshell rings; around the waist +was worn a narrow piece of native cloth (died either of a dark red or +yellow colour), or a small narrow mat formed from the bark of a tree, +and of fine texture; some of these had neatly-worked dark red borders, +apparently done with the fibres of some dyed bark. They rub their bodies +with scented cocoa-nut oil as well as turmeric. The canoes were neatly +constructed, had outriggers, and much resemble those of Tongatabu; the +sails were triangular, and formed of matting. No weapons were observed +in the possession of any of the natives; they said they had two muskets, +which had been procured in barter from some European ship. We landed on +a sandy beach, and were received by a large concourse of natives. We +were introduced to a grave old gentleman, who was seated on the ground, +recently daubed with turmeric and oil for this ceremony; he was styled +the ariki, or chief, of this portion of the island. On an axe, as well +as other presents, being laid before him, he (as is usual among the +chiefs of the Polynesian Islands on a ceremonial occasion) did not show +any expression of gratification or dislike at the presents but in a +grave manner made a few inquiries about the ship. Near the ariki sat a +female, whose blooming days had passed; she was introduced as his wife; +her head was decorated with a fillet of white feathers; the upper part +of her body was exposed, but she wore a mat round the waist which +descended to the ankles; the chief was apparently a man of middle age. +</p> +<p> +"The native habitations were low, of a tent form, and thatched with +cocoa-nut leaves; these habitations were not regular, but scattered +among the dense vegetation which surrounded them on all sides. The tacca +pinnatifida, or Polynesian arrow-root plant, called massoa by the +natives, was abundant, as also the fittou, or calophyllum inophyllum, +and a species of fan palm, growing to the height of fifteen and twenty +feet, called tarapurau by the natives; the areka palm was also seen, and +the piper betel was also cultivated among them. They had adopted the +oriental custom of chewing the betel; in using this masticatory they +were not particular about the maturity of the nuts, some eating them +very young as well as when quite ripe; they carried them about enclosed +in the husk, which was taken off when used.<a id="footnotetag3" name="footnotetag3"></a><a href="#footnote3"><sup>3</sup></a> At a short distance from +the beech, inland, was a lake of some extent, nearly surrounded by +lofty, densely-wooded hills. Some wild ducks were seen, and a gun being +fired at them, the report raised numbers of the 'plumy tribe,' filling +the air with their screams, alarmed at a noise to which they had been +unaccustomed. Several native graves were observed, which were very neat; +a stone was placed at the head and the grave neatly covered over by +plaited sections of the cocoa-nut frond; no particular enclosures for +the burial of the dead were observed. When rambling about, the 'timid +female' fled at our approach. From a casual glimpse of the <i>fair</i> +objects, they merit being classed among the 'beautiful portion of the +creation;' their hair was cut close. +</p> +<p> +"Cooked yams, cocoa-nuts, &c. were brought us by the natives, and +their manner was very friendly; of provisions, yams, hogs, &c. could +be procured. +<span class="pagenum"><a id="page147" name="page147"></a>[pg 147]</span> + The natives were anxious to accompany us on the voyage, +and it was with the greatest difficulty that we could get rid of them. +It seems they have occasional intercourse with islands at some distance +from them; two fine polished gourds, containing lime, &c. used with +their betel, were observed among them—one was plain and the other +ornamented with figures, apparently burnt by some instrument. They +stated that these had been procured from the island of Santa Cruz +(Charlotte's Archipelago) by one of the chief's sons. Some of the +natives were observed much darker than others, and there appeared +a mixture of some races. Their numerals were as follows:— +</p> +<div class="poem"><div class="stanza"> + <p> "1 Tashi.</p> + <p> 2 Rua.</p> + <p> 3 Toru.</p> + <p> 4 Fa.</p> + <p> 5 Hima.</p> + <p> 6 Ono.</p> + <p> 7 Fithu.</p> + <p> 8 Warru.</p> + <p> 9 Hiva.</p> + <p> 10 Tanga, foru."</p> +</div></div> +<p> +The isolated basaltic rocks in the centre of the valley may give rise to +some curious speculations on the origin of this island. It has long been +decided that basaltic rocks are of igneous origin, in opposition to the +theory of Werner—that they were deposited by the ocean on the summits +of elevated mountains. May not the occurrence of these basalt rocks +therefore illustrate the more immediate volcanic origin of Tucopia? +</p> +<p> +The second Cut represents the PIERCY ISLANDS, two barren islets situated +a short distance off Cape Bret, (New Zealand,) near the entrance of the +Bay of Islands: one is of very small size, and appears connected to the +other by a ledge of rocks visible at low water. The larger one is quoin +shaped, and has a remarkable perforation, seen in the sketch. +</p> +<hr /> +<h3> + OLIVER GOLDSMITH. +</h3> +<center> +(<i>For the Mirror.</i>) +</center> +<p> +One of the residences of this historian and poet, was about a mile from +Paddington on the north side of the Edgware Road, near a place called +Kilburn Priory; and the wooden cottage is still standing, although the +land near it has been of late covered with newly-erected villas. It is +occupied by a person in humble life, and is not to be altered or removed +owing to the respect entertained for the memory of this remarkable +literary character. In this cottage, Goldsmith wrote his admirable +treatise on <i>Animated Nature.</i> A sketch of this rustic dwelling is +a desideratum, as, in after days, it may be demolished to make way for +modern improvement. +</p> +<h4> +J.C.H. +</h4> +<hr /> +<h3> + STANZAS +</h3> +<center> +TO THE SPIRIT OF EVENING. +</center> +<center> +(<i>For the Mirror.</i>) +</center> +<div class="poem"><div class="stanza"> + <p> Mild genius of the silent eve!</p> +<p class="i2"> Thy pathway through the radiant skies,</p> + <p> Is the rich track which sunbeams weave</p> +<p class="i2"> With all their varied, mingling, dyes,</p> + <p> Ere yet the lingering sun has fled,</p> + <p> Or glory left the mountain's head.</p> +</div><div class="stanza"> + <p> Yet not one ray of sunset's hue</p> +<p class="i2"> Illumes thy silent, peaceful train;</p> + <p> And scarce a murmur trembles through</p> +<p class="i2"> The woods, to hail thy gentle reign,</p> + <p> Save where the nightingale, afar,</p> + <p> Sings wildly to thy lonely star.</p> +</div><div class="stanza"> + <p> Yet gentlest eve, attending thee,</p> +<p class="i2"> Come meek devotion, peace, and rest,</p> + <p> Mild contemplation, memory,</p> +<p class="i2"> And silence with her sway so blest;</p> + <p> And every mortal wish and thought,</p> + <p> By thee to holiest peace is wrought.</p> +</div><div class="stanza"> + <p> Thine airs that crisp the quiet stream,</p> +<p class="i2"> Are soft as slumbering infants' breath:</p> + <p> The trembling stars, that o'er thee beam,</p> +<p class="i2"> Are pure as Faith's own crowning wreath:</p> + <p> And e'en thy silence has for me</p> + <p> A charm more sweet than melody.</p> +</div><div class="stanza"> + <p> Oh gentle spirit, blending all</p> +<p class="i2"> The beauties parting day bestows,</p> + <p> With deeper hues that slowly fall,</p> +<p class="i2"> To shadow Nature's soft repose;</p> + <p> So sweet, so mild, thy transient sway,</p> + <p> We mourn it should so soon decay.</p> +</div><div class="stanza"> + <p> But like the loveliest, frailest things</p> +<p class="i2"> We prize on earth, thou canst not last;</p> + <p> For scarce thine hour its sweetness brings</p> +<p class="i2"> To soothe, and bless us, e'er 'tis past;</p> + <p> And night, dull cheerless night destroys</p> + <p> Thy tender light, and peaceful joys.</p> +</div></div> +<h4> +SYLVA. +</h4> +<hr /> +<h3> + TRAVELLING NOTES IN SOUTH WALES. +</h3> +<center> +(<i>To the Editor.</i>) +</center> +<p> +I observe a communication respecting my little note on the shrimp in one +of your recent Numbers. Whether shrimps or not, I was not aware of my +error, for they closely resembled them, and were not "as different as +possible," as H.W. asserts. Every person too, must have remarked the +agility of the old shrimp when caught. They were besides of various +sizes, many being much larger that what H.W. means as the "sea flea." +Perhaps H.W. will be good enough to describe the size of the latter +when he sends his history of the shrimp. +</p> +<p> +With regard to the "encroachers," my information must have been +incorrect. I had omitted, accidentally however, in the hurry of writing, +to add "if undisturbed for a certain period," to the passage quoted in +page 20 of your No. 529. +</p> +<p> +In North Wales, some years ago, there were some serious disturbances +<span class="pagenum"><a id="page148" name="page148"></a>[pg 148]</span> +concerning an invasion of the alleged rights of the peasantry, but +I do not now remember the particulars. Few things by the way, have been +attended with more mischievous effects in England than the extensive +system of inclosures which has been pursued within the last thirty +years. No less than 3,000 inclosure acts have been passed during that +period; and nearly 300,000 acres formerly common, inclosed: from which +the poor cottager was once enabled to add greatly to his comfort, and +by the support thus afforded him, to keep a cow, pigs, &c. +</p> +<p> +I attended a meeting at Exeter Hall, the other day, of the "Labourers' +Friend Society," whose object is to provide the peasantry with small +allotments of land at a low rent. This system, if extensively adopted, +promises to work a wonderful change for the better in the condition of +the working classes. Indeed the system where adopted has already been +attended with astonishing results. When we come to consider that out of +the 77,394,433 acres of land in the British Isles, there are no less +than 15,000,000 acres of uncultivated wastes, which might be profitably +brought under cultivation; it is surprising to us, that instead of +applying funds for emigration, our legislators have so long neglected +this all-important subject. Of the remaining 62,394,433 acres, it +appears that 46,522,970 are cultivated, and 15,871,463 unprofitable +land. The adoption of the allotment system has been justly characterized +as of national importance, inasmuch as it diminishes the burdens of the +poor, is a stimulus to industry, and profitably employs their leisure +hours; besides affording an occupation for their children, who would +otherwise, perhaps, run about in idleness. +</p> +<p> +In the reign of Elizabeth, no cottager had less than four acres of land +to cultivate; but it has been found that a single rood has produced the +most beneficial effects. We need scarcely add that where adopted, it has +very greatly reduced the poor-rates. The subject is an interesting one, +and, I trust, we shall in a short period hear of the benevolent and +meritorious objects of the Society being extensively adopted. We refer +the reader to some remarks on the subject in connexion with the Welsh +peasantry, &c. in <i>The Mirror</i>, No. 505. +</p> +<p> +In our description of Swansea, in No. 465, we mentioned the facility +with which the harbour could be improved, and the importance of adapting +it for a larger class of shipping than now frequent that port. On a +recent visit to South Wales, we found this improvement about to be +carried into effect, and an act is to be obtained during the present +session of Parliament. A new harbour on an extensive scale, is also +about to be commenced near Cardiff. The increase of population in Wales +has been very considerable since the census of 1821. Wales contains a +superficies of 4,752,000 acres; of which 3,117,000 are cultivated; +530,000 capable of improvement, and 1,105,000 acres are unprofitable +land. +</p> +<h4> +VYVYAN. +</h4> +<hr class="full" /> +<h2> + THE SKETCH BOOK +</h2> +<hr /> +<h3> +SCOTTISH SPORTING. +</h3> +<center> +(<i>Concluded from page</i> 137.) +</center> +<p> +But here come the graces of the forest, fifty at least in the herd—how +beautifully light and airy; elegance and pride personified; onward they +come in short, stately trot, and tossing and sawing the wind with their +lofty antlers, like Sherwood oak taking a walk; heavens! it is a sight +of sights. Now advance in play, a score of fawns and hinds in front of +the herd, moving in their own light as it were, and skipping and leaping +and scattering the dew from the green sward with their silvery feet, +like fairies dancing on a moonbeam, and dashing its light drops on to +the fairy ring with their feet of ether. O! it was a sight of living +electricity; our very eyes seemed to shoot sparks from man to man, and +even the monkey himself, as we gazed at each other in trembling +suspense. +</p> +<p> +"Noo, here they coom wi' their een o' fire an' ears o' air," whispered +the Ettric poet. +</p> +<p> +"Hush," quoth I, "or they'll be off like feathers in a whirlwind, or +shadows of the lights and darks of nothingness lost in a poet's +nightmare." +</p> +<p> +"A <i>sumph</i> ye mean," answered Jammie. +</p> +<p> +"Hush, there they are gazing in the water, and falling in love with +their own reflected beauty." +</p> +<p> +"Mark the brindled tan buck," whispered one keeper to the other. They +fired together, and both struck him plump in his eye of fire; mine +seemed to drop sparks with sympathy: he bounded up ten feet high—he +shrieked, and fell stone dead; Gods, what a shriek it was; I fancy even +now I have that shriek and its hill-echo chained to the tympanum of my +ear, like the shriek of the shipwrecked hanging +<span class="pagenum"><a id="page149" name="page149"></a>[pg 149]</span> + over the sea—heavens! +it was a pity to slay a king I thought, as I saw him fall in his pride +and strength; but by some irresistible instinct, my own gun, pulled, I +don't know how, and went off, and wounded another in the hip, and he +plunged like mad into the river, to staunch his wounds and defend +himself against the dogs. Ay, there he is keeping them at bay, and +scorning to yield an inch backward; and now the keeper steals in behind +him and lets him down by ham-stringing him: but when he found his +favourite dog back-broken by the buck, why he cursed the deer, and +begged our pardon for swearing; and now he cuts a slashing gash from +shoulder to chop to let out the blood; and there lay they, dead, in +silvan beauty, like two angels which might have been resting on the +pole, and spirit-stricken into ice before they had power to flee away. +</p> +<p> +But we must away to Sir Reynard's hall, and unsough him; this we can +do with less sorrowful feelings than killing a deer, which indeed, +is like taking the life of a brother or a sister; but as to a fox, +there is an old clow-jewdaism about him, that makes me feel like +passing Petticoat-lane or Monmouth-street, or that sink of iniquity, +Holy-well-street. O, the cunning, side-walking, side-long-glancing, +corner-peeping, hang-dog-looking, stolen-goods-receiving knave; +"Christian dog" can hold no sympathy with thee, so have at thee. +Ah, here is his hold, a perfect Waterloo of bones. +</p> +<p> +"The banes o' my bonnie Toop, a prayer of vengeance for that; an' Sandy +Scott's twa-yir-auld gimmer, marterdum for that." "An' my braxsied +wether," quoth a forester; "the rack for that, and finally the auld +spay-wife's bantam cock, eyes and tongue cut out and set adrift again, +for that." Now we set to work to clear his hole for "rough Toby" +(a long-backed, short-legged, wire-haired terrier of Dandy Dinmont's +breed) to enter; in he went like red-hot fire, and "ready to nose the +vary deevil himsel sud he meet him," as Jammie Hogg said; and to see +the chattering anxiety of the red-coated monkey, as he sat at the mouth +of the fox-hole, on his shaggy, grizzle-grey shadow of a horse, like a +mounted guardsman in the hole yonder at St. James's; it truly would have +made a "pudding creep" with laughter—"Reek, reek, reeking into th' hole +after Toby, with his we we cunnin, pinkin, glimmerin een, an' catchin +him 'bith stump o' th' tail as he were gooin in an' handing as long as +he could," as James said. O, it was a very caricature of a caricature. +But list, I hear them scuffle, they are coming out. Notice the monkey +shaking his "bit staff;" here they come like a chimney swept in a hurry, +they are out. "What a gernin, glowerin, sneerin, deevilitch leuk can a +tod gie when hee's keepit at bay just afore he slinks off," exclaimed +the poet, as Reynard was stealing away; but yonder they go before the +wind, down the sweeping, outstretched glen, like smoke in a blast. +Ay, there they go, two stag hounds, monkey, and grew, and Toby yelping +behind; what a view we have of them—the grew is too fleet for him, he +turns him and keeps him at bay till the hounds come up; now they are +off again, and now we lose them, vanished like the shadow of a dream. +</p> +<p> +We followed, and on our way we met a herdsman, with his eyes staring +like two bullets stuck in clay, or rather two currants stuck in a +pudding: he said he had met "the deevil, a' dress'd like a heelanman o' +tod huntin;" of course we laughed from the bottom end of our very +bowels; but that was not the way to undemonize him, no, he pledged +himself that he saw him "wi' his own twa een lowp off the shoather o' a +thing lik a snagged foal, an' gie the tod such a dirl 'ith heed, that he +kilt him deed's a herrin, an' we micht a' witness the same by gannin to +the Shouther o' Birkin Brae." And truly it was as he said, for we found +the mark of the little Highlandman's shillela on the fox's head, while +he himself was sitting a straddle on him, like "the devil looking over +Lincoln Minster," and the dogs lying panting round about. +</p> +<p> +On our road home to Hogg's we paid a visit to a wild-cat's lair in the +Eagle's Cragg, and of all the incarnate devils, for fighting I ever saw, +they "cow the cuddy," as the Scotch say; perfect fiends on earth. There +was <i>pa</i> and <i>ma</i>, or rather <i>dad</i> and <i>mam</i>, (about +the bigness of tiger-cats, one was four feet and a half from tip to +tail) and seven kittens well grown; and O, the spit, snarl, tusshush and +crissish, and mow-waaugh they did kick up in their den, whilst in its +darkness we could see the <i>electricity</i> or phosphorescence of their +eyes and hair sparkling like chemical fire-works. But I must tell you +the rest hereafter, for my paper is out! +</p> +<h4> +W.H. +</h4> +<hr /> +<p> +<span class="pagenum"><a id="page150" name="page150"></a>[pg 150]</span> +</p> +<h2> + FINE ARTS. +</h2> +<hr /> +<h3> + MR. HAYDON'S PICTURES. +</h3> +<p> +Mr. Haydon has nearly completed his <i>Xenophon</i>, which he intends to +make the nucleus of an Exhibition during the present town season. The +King has graciously lent Mr. Haydon the <i>Mock Election</i> picture; +(for an Engraving of which see Mirror, vol. xi. p. 193,) for the above +purpose. There will be other pictures, of comic and domestic interest +by the same artist; among which will be <i>Waiting for the Times</i>, +(purchased by the Marquess of Stafford;) <i>The First Child</i>, very +like papa about the eyes, and mamma about the nose; <i>Reading the +Scriptures; Falstaff and Pistol; Achilles playing the Lyre;</i> and +others, which with a variety of studies, will make up an interesting +Exhibition. +</p> +<hr class="full" /> +<h2> + THE NATURALIST. +</h2> +<hr /> +<h3> + A DAY IN BRAZIL. +</h3> +<p> +The following is a translation of the leaf from the journal of Dr. +Martins, dated Para, August 16, 1819; and describes an equatorial day, +as observed near the mouths of the Para and the Amazons:— +</p> +<p> +How happy am I here! How thoroughly do I now understand many things +which before were incomprehensible to me! The glorious features of this +wonderful region, where all the powers of nature are harmoniously +combined, beget new sensations and ideas. I now feel that I better know +what it is to be a historian of nature. Overpowered by the contemplation +of an immense solitude, of a profound and inexpressible stillness, +it is, doubtless, impossible at once to perceive all its divine +characteristics; but the feeling of its vastness and grandeur cannot +fail to arouse in the mind of the beholder the thrilling emotions +of a hitherto inexperienced delight. +</p> +<p> +It is three o'clock in the morning, I quit my hammock; for the +excitement of my spirits banishes sleep. I open my window, and gaze on +the silent solemnity of night. The stars shine with their accustomed +lustre, and the moon's departing beam is reflected by the clear surface +of the river. How still and mysterious is every thing around me! I take +my dark lantern, and enter the cool verandah, to hold converse with my +trusty friends the trees and shrubs nearest to our dwelling. Most of +them are asleep, with their leaves closely pressed together; others, +however, which repose by day, stand erect, and expand themselves in +the stillness of night. But few flowers are open; only those of the +sweet-scented Paulli<i>nia</i> greet me with a balmy fragrance, and +thine, lofty mango, the dark shade of whose leafy crown shields me from +the dews of night. Moths flit, ghost-like, round the seductive light of +my lantern. The meadows, ever breathing freshness, are now saturated +with dew, and I feel the damp of the night air on my heated limbs. +A Cicà da, a fellow-lodger in the house, attracts me by its domestic +chirp back into my bedroom, and is there my social companion, while, +in a happy dreaming state, I await the coming day, kept half awake by +the buzz of the mosquites, the kettle-drum croak of the bull-frog, or +the complaining cry of the goatsucker. +</p> +<p> +About five o'clock I again look out, and behold the morning twilight. +A beautiful even tone of grey, finely blended with a warmth-giving red, +now overspreads the sky. The zenith only still remains dark. The trees, +the forms of which become gradually distinct, are gently agitated by +the land wind, which blows from the east. The red morning light and +its reflexes play over the dome-topped caryocars, bertholetias, and +symphonias. The branches and foliage are in motion, and all the lately +slumbering dreamers are now awake, and bathe in the refreshing air +of the morning. Beetles fly, gnats buzz, and the varied voice of the +feathered race resounds from every bush; the apes scream as they clamber +into the thickets; the night moths, surprised by the approach of light, +swarm back in giddy confusion to the dark recesses of the forest; there +is life and motion in every path; the rats and all the gnawing tribe are +hastily retiring to their holes, and the cunning marten, disappointed of +his prey, steals from the farm-yard, leaving untouched the poultry, to +whom the watchful cock has just proclaimed the return of day. +</p> +<p> +The growing light gradually completes the dawn, and at length the +effulgent day breaks forth. It is nature's jubilee. The earth awaits her +bridegroom, and, behold, he comes! Rays of red light illumine the sky, +and now the sun rises. In another moment he is above the horizon, and, +emerging from a sea of fire, he casts his glowing rays upon the earth. +The magical twilight is gone; bright gleams flit from point to point, +accompanied by deeper and deeper shadows. Suddenly the enraptured +observer beholds around him the joyous earth, arrayed in fresh dewy +splendour, the fairest of brides. The vault of heaven is cloudless; +on the earth all is instinct +<span class="pagenum"><a id="page151" name="page151"></a>[pg 151]</span> + with life, and every animal and plant is +in the full enjoyment of existence. At seven o'clock the dew begins to +disappear, the land breeze falls off, and the increasing heat soon makes +itself sensibly felt. The sun ascends rapidly and vertically the +transparent blue sky, from which every vapour seems to disappear; but +presently, low in the western horizon, small, flaky, white clouds are +formed. These point towards the sun, and gradually extend far into the +firmament. By nine o'clock the meadow is quite dry, the forest appears +in all the splendour of its glowing foliage. Some buds are expanding; +others, which had effloresced more rapidly, have already disappeared. +Another hour, and the clouds are higher: they form broad, dense masses, +and, passing under the sun, whose fervid and brilliant rays now pervade +the whole landscape, occasionally darken and cool the atmosphere. +The plants shrink beneath the scorching rays, and resign themselves +to the powerful influence of the ruler of the day. The merry buzz of the +gold-winged beetle and humming-bird becomes more audible. The variegated +butterflies and dragon-flies on the bank of the river, produce, by +their gyratory movements, lively and fantastic plays of colour. The +ground is covered with swarms of ants, dragging along leaves for +their architecture. Even the most sluggish animals are roused by the +stimulating power of the sun. The alligator leaves his muddy bed, and +encamps upon the hot sand; the turtle and lizard are enticed from their +damp and shady retreats; and serpents of every colour crawl along the +warm and sunny footpaths. +</p> +<p> +But now the clouds are lowering; they divide into strata, end, +gradually getting heavier, denser, and darker, at last veil the horizon +in a blueish grey mist. Towards the zenith they tower up in bright +broad-spreading masses, and assume the appearance of gigantic mountains +in the air. All at once the sky is completely overcast, excepting that a +few spots of deep blue still appear through the clouds. The sun is hid, +but the heat of the atmosphere is more oppressive. The noontide is past; +a cheerless melancholy gloom hangs heavily over nature. Fast sink the +spirits; for painful is the change to those who have witnessed the +joyous animation of the morning. The more active animals roam wildly +about, seeking to allay the cravings of hunger and thirst; only the +quiet and slothful, who have taken refuge in the forest, seem to have +no apprehension of the dreadful crisis. But it comes! it rushes on with +rapid strides, and we shall certainly have it here. The temperature is +already lowered; the fierce and clashing gales tear up trees by the +roots. Dark and foaming billows swell the surface of the deeply agitated +sea. The roar of the river is surpassed by the sound of the wind, and +the waters seem to flow silently into the ocean. There the storm rages. +Twice, thrice, flashes of pale blue lightning traverse the clouds in +rapid succession: as often does the thunder roll in loud and prolonged +claps through the firmament. Drops of rain fall. The plants begin to +recover their natural freshness; it thunders again, and the thunder +is followed, not by rain, but by torrents, which pour down from the +convulsed sky. The forest groans; the whizzing rustle of the waving +leaves becomes a hollow murmuring sound, which at length resembles +the distant roll of muffled drums. Flowers are scatterd to and fro, +leaves are stripped from the boughs, branches are torn from the stems, +and massy trees are overthrown; the terrible hurricane ravishes all +the remaining virgin charms of the levelled and devastated plants. +But wherefore regret their fate? Have they not lived and bloomed? +Has not the <i>Inga</i> twisted together its already emptied stamens? +Have not the golden petals fallen from the fractified blossoms of the +Banisèr<i>ia</i>, and has not the fruit-loaded <i>A</i>rum yielded its +faded spathe to the storm? The terrors of this eventful hour fall +heavily even on the animal world. The feathered inhabitants of the woods +are struck dumb, and flutter about in dismay on the ground; myriads of +insects seek shelter under leaves and trunks of trees. The wild Mammà lia +are tamed, and suspend their work of war and carnage; the cold-blooded +AmphÃbia alone rejoice in the overwhelming deluge, and millions of +snakes and frogs, which swarm in the flooded meadows, raise a chorus of +hissing and croaking. Streams of muddy water flow through the narrow +paths of the forests into the river, or pour into the cracks and chasms +of the soil. The temperature continues to descend, and the clouds +gradually empty themselves. +</p> +<p> +But at length a change takes place, and the storm which lately raged so +furiously is over. The sun shines forth with renovated splendour through +long extended masses of clouds, which gradually disperse towards the +horizon on the north and south, assuming, as in the morning, light, +vapoury forms, and hemming the azure basis of the firmament. A smiling +deep blue sky now gladdens the earth, and the horrors of the past +<span class="pagenum"><a id="page152" name="page152"></a>[pg 152]</span> +are speedily forgotten. In an hour no trace of the storm is visible; +the plants, dried by the warm sunbeams, rear their heaps with renewed +freshness, and the different kinds of animals obey, as before, their +respective instincts and propensities. +</p> +<p> +Evening approaches, and new clouds appear between the white flaky +fringes of the horizon. They diffuse over the landscape tints of violet +and pale yellow, which harmoniously blends the lofty forests in the +back-ground with the river and the sea. The setting sun, surrounded by +hues of variegated beauty, now retires through the western portals of +the firmament, leaving all nature to love and repose. The soft twilight +of evening awakens new sensations in animals and plants, and buzzing +sounds prove that the gloomy recesses of the woods are full of life and +motion. Love-sighs are breathed through the fragrant perfumes of newly +collapsed flowers, and all animated nature feels the influence of this +moment of voluptuous tranquillity. Scattered gleams of light, reflected +splendours of the departed sun, still float upon the woodland ridges; +while, amidst a refreshing coolness, the mild moon arises in calm and +silent grandeur, and diffusing her silver light over the dark forest, +imparts to every object a new and softened aspect. Night comes;—nature +sleeps, and the etheral canopy of heaven, arched out in awful immensity +over the earth, sparkling with innumerable witnesses of far distant +glories, infuses into the heart of man humility and confidence,—a +divine gift after such a day of wonder and delight!—<i>Mag. Nat. +Hist</i>. No. 24. +</p> +<hr class="full" /> +<h2> + NOTES OF A READER. +</h2> +<hr /> +<h3> +THE BRITISH MUSEUM. +</h3> +<p> +We are happy to learn that the celebrated Arundel MSS., which had been +held for some time by the Royal Society, have recently been transferred +to the British Museum; as well as a valuable addition of coins. +In accordance with the suggestions made during the last Session of +Parliament, the library of the Museum will henceforth be open to the +public every day in the week, except Sundays. +</p> +<p> +During the past year 38,000 individuals visited the Museum, and very +nearly 100,000, namely, 99,852 persons, from all parts of the kingdom, +visited the Library for the purposes of study. +</p> +<p> +By the way, a livery-servant complained, in <i>The Times</i> of the 1st +instant, that he had been refused admission to the Museum on an open and +public day, in consequence of his wearing a livery, notwithstanding he +saw "soldiers and sailors go in without the least objection." <i>The +Times</i> remarks, "We believe livery-servants are not excluded from the +sight at Windsor on an open day. We suspect that the regulation is not +so much owing to any aristocratical notions on the part of the Directors +of the Museum, as to that fastidious feeling which prevails in this +country more than any other, and most of all among the lower ranks of +the middle classes." The cause is reasonable enough; but we believe that +livery-servants are not admitted at Windsor: the exclusion seems to be a +caprice of Royalty, for servants are excluded from our palace-gardens, +as Kensington. Surely this is unjust. If servants consent to wear +liveries to gratify the vanity of their wealthy employers, it is hard to +shut them out from common enjoyments on that account. This is in the +true spirit of vassalage, of which the liveries are comparatively a +harmless relic. In Paris we remember seeing a round-frocked peasant, +apparently just from the plough, pacing the polished floor of the Louvre +gallery with rough nailed shoes, and then resting on the velvet topped +settees; and he was admitted <i>gratis</i>. Would such a person, +tendering his shilling, be admitted to the Exhibition at Somerset House? +</p> +<hr /> +<h3> + DOMESTIC CHEMISTRY. +</h3> +<center> +<i>Elements of Chemistry familiarly explained and practically +illustrated</i>. +</center> +<p> +This is an excellent little work by Mr. Brande: it is not avowedly so, +although everyone familiar with his valuable Manual of Chemistry will +soon identify the authorship. The present is only the first Part of this +petite system, containing Attraction, Heat, Light, and Electricity. +It is, as the author intended it to be, "less learned and elaborate +than the usual systematic works, and at the same time more detailed, +connected, and explicit than the 'Conversations' or 'Catechisms.'" +It avoids "all prolixity of language and the use of less intelligible +terms;" and, to speak plainly, the illustrative applications throughout +the work are familiar as household words. Witness the following extract +from the effects of Heat: +</p> +<center> +<i>Ventilation—Heating Rooms</i>. +</center> +<p> +"In consequence of the <i>lightness</i> of heated air, it always rises +to the upper parts of rooms and buildings, when it either escapes, or, +becoming cooled and +<span class="pagenum"><a id="page153" name="page153"></a>[pg 153]</span> + <i>heavier</i>, again descends. If, in cold weather, +we sit under a skylight in a warm room, a current of cold air is felt +descending upon the head, whilst warmer currents, rising from our bodies +and coming into contact with the cold glass, impart to it their excess +of heat. Being thus contracted in bulk, and rendered specifically +heavier, they in their turn descend, and thus a perpetual motion is kept +up in the mass of air. This effect is attended with much inconvenience +to those who inhabit the room, and is in great measure prevented by the +use of double windows, which prevent the rapid cooling and production of +troublesome currents in the air of the apartment. +</p> +<p> +"We generally observe, when the door of a room is opened, that there are +two distinct currents in the aperture; which may be rendered evident +by holding in it the flame of a candle. At the upper part it is blown +outwards, but inwards at the lower part; in the middle, scarcely any +draught of air, one way or other, is perceptible. +</p> +<p> +"The art of ventilating rooms and buildings is in a great measure +dependent upon the currents which we are enabled to produce in air by +changes of temperature, and is a subject of considerable importance. +As the heated air and effluvia of crowded rooms pass upwards, it is +common to leave apertures in or near the ceiling for their escape. Were +it not, indeed, for such contrivances, the upper parts of theatres and +some other buildings would scarcely be endurable; but a mere aperture, +though it allows the foul air to escape, in consequence of its specific +lightness, is also apt to admit a counter-current of denser and cold +air, which pours down into the room, and produces great inconvenience. +This effect is prevented by heating, in any convenient way, the tube or +flue through which the foul air escapes. A constantly ascending current +is then established; and whenever cold air attempts to descend, the +heat of the flue rarefies and drives it upwards. Thus the different +ventilators may terminate in tubes connected with a chimney; or they +may unite into a common trunk, which may pass over a furnace purposely +for heating it. +</p> +<p> +"In some of our theatres, the gas chandelier is made a very effectual +ventilator. It is suspended under a large funnel, which terminates +in a cowl outside the roof; and the number of burners heat the air +considerably, and cause its very rapid and constant ascent through the +funnel, connected with which there may be other apertures in the ceiling +of the building. But in these and most other cases, we may observe that +the vents are not sufficiently capacious; and the foul air from the +house, and from the gas-burners themselves, not being able readily to +escape, diffuses itself over the upper part of the building, and renders +the galleries hot and suffocating—all which is very easily prevented by +the judicious adjustment of the size of the ventilating channels to the +quantity of air which it is requisite should freely pass through them. +</p> +<p> +"The small tin ventilators, consisting of a rotating wheel, which we +sometimes see in window-panes, are perfectly useless, though it is often +imagined, in consequence of their apparent activity, that they must be +very effectual; but the fact is, that a very trifling current of air +suffices to put them in motion, and the apertures for its escape are so +small as to produce no effectual change in the air of the apartment: +they are also as often in motion by the ingress as by the egress of air. +</p> +<p> +"From what has been said, it will be obvious that our common fires +and chimneys are most powerful ventilators, though their good services +in this respect are often overlooked. As soon as the fire is lighted, +a rapid ascending current of air is established in the chimney, and +consequently there must be a constant ingress of fresh air to supply +this demand, which generally enters the room through the crevices of the +doors and windows. When these are too tight, the chimney smokes or the +fire will not draw; and in such cases it is sometimes necessary to make +a concealed aperture in some convenient part of the room for the +requisite admission of air, or to submit to sitting with a window or +door partly open. Any imperfect action of the chimney, or descending +current, is announced by the escape of smoke into the room, and is +frequently caused by the flue being too large, or not sufficiently +perpendicular and regular in its construction. When there is no fire, +the chimneys also generally act as ventilators; and in summer there is +often a very powerful current up them, in consequence of the roof and +chimney-pots being heated by the sun, and thus accelerating the ascent +of the air. In a well-constructed house there should be sufficient +apertures for the admission of the requisite quantity of air into the +respective rooms, without having occasion to trust to its accidental +ingress through every crack and crevice that will allow it to pass. +These openings +<span class="pagenum"><a id="page154" name="page154"></a>[pg 154]</span> + may either be concealed, or made ornamental, and by +proper management may be subservient to the admission of warm air +in winter." +</p> +<hr /> +<h3> + HENRI III. OF FRANCE. +</h3> +<p> +We quote the following scene from one of the Tales recently published +in three volumes with the general cognomen of <i>Chantilly</i>. It is from +the longest and most successful of the stories called "D'Espignac," +in the time of Henri III., and, as our extract shows, the scenes and +sketches exhibit considerable talent, and a certain graphic minuteness +which has become very popular in modern novels. The tale itself is not +to our purpose, but we promise the reader a <i>petit souper</i> of horrors +from its perusal, especially to those who woo terror to delight them. +The pen is young and feminine, and of high promise. The occasion of the +following scene is an interview of one of the characters with Henri. +</p> +<p> +"It was a small dark apartment, hung round with tapestry, the ceiling +richly decorated with massive ornaments of carved oak, and the floor +covered with a dark-coloured carpet of Turkey manufacture, so thick and +soft that the footsteps fell unheard as they advanced over it. It was +here that the monarch usually spent his leisure hours, and various were +the objects indicative of his tastes and habits scattered around, in a +confusion which completely put to flight all ideas of study or devotion +in the mind of the visiter. On a small table near the door were strewn +divers preparations for the toilette, and cosmetics for improving the +complexion, of which the King used quantities almost incredible, all +prepared by his own hand; and the mixing and arranging of these formed +his greatest delight and amusement. In the recesses on each side the +window stood two highly-polished ebony cases, which Catherine de Medicis +his mother had brought from Italy, for containing books and holy relics; +but for this they were totally useless to the present royal owner, who +applied them to a far different purpose. On the lower shelf next the +ground, were arranged small ornamented baskets, in each of which, on +satin cushions, reposed in regal luxury a litter of spaniel puppies, +which, together with their pampered mother, did not fail to salute with +deafening noise any stranger who entered. The messes, medicines, and +food of these little favourites completely filled the upper shelves, or +only disputed ground with the chains and collars of their predecessors, +a few of whom, rescued from oblivion, stood on the top, seemingly ready +as in life to fly out with inhospitable fury on the approach of +intruders. +</p> +<p> +"The upper compartments of the window were of painted glass, and cast a +dismal light through the apartment, while the lower panes were darkened +by the hawk-mews raised on the terrace, that the King might enjoy the +daily satisfaction of seeing the birds fed before his eyes. On a table +near the window stood an inkstand, with various implements for writing, +but from the sorry condition in which they appeared, and the confusion +prevailing around, it was evident they were but seldom used. Small was +the space, however, allotted to such unimportant objects. His Majesty +had been deeply engaged during the morning tending a sick puppy, which +having washed in sweet water, and combed with a gilt comb, he had +adorned with ribbons, and placed in a basket by his side; mixing a +scented paste for whitening the hands, preparing a wash for the skin, +binding the broken leg of a wounded merlin, and finally seeking +relief from such engrossing pursuits in the favourite recreation of +disburdening a precious missal of its exquisite illuminations, in order +to ornament the walls and enliven the chamber! It was at this table +that Henri himself was seated, with his head resting on his hands, and +apparently buried in thought. The noisy greeting of the spaniels as +La Vallée entered caused him to start, and he turned towards the door +an anxious unquiet look, bespeaking distrust and apprehension, which, +however, quickly changed to one of pleasure as he heard the name and +recognised the features of his visiter. +</p> +<p> +"The King was at that time in the very flower of his age, and yet +he appeared no longer young. The cares of royalty, the murder of the +Guises, had planted many a deep and lasting furrow on his brow, which +time would have otherwise withheld for many years. His pallid cheek +and sunken eye told of a mind but ill at ease. No art, no charm could +restore the bloom and freshness which remorse for the past and fear for +the future had long ago dispelled, never to return. And yet, with that +sweet self-deception which all are so disposed to practise, he sought +to banish reflection and beguile alarm in the pursuit of all kinds of +frivolous amusements unworthy of his rank or station, and fancied he +had succeeded in chasing care if for a moment he ceased to think. +</p> +<p> +<span class="pagenum"><a id="page155" name="page155"></a>[pg 155]</span> +</p> +<p> +"His costume even now was foppish and <i>recherché</i>. Much time had +evidently been spent in adjusting the drooping leathers of his jewelled +toque, and no pains had been spared in properly disposing the plaits +of his <i>fraise</i> and ruffles, or in arranging the folds of his +broidered mantle. The snow-white slippers, with the sky-blue roses, the +silken hose and braided doublet, seemed better fitted for the parade of +the courtly saloon than the privacy of the closet. The hand he extended +to the Count was like that of a youthful beauty, rather than of one who +had once wielded sword with the bravest. Every finger was adorned with +a costly jewel, which flashed and sparkled in the light as he waved his +hand in token of welcome, and, pointing to a chair, bade his visiter be +seated." +</p> +<hr class="full" /> +<h2> + SPIRIT OF THE PUBLIC JOURNALS. +</h2> +<hr /> +<h3> + THE LAW OF ARREST. A TALE FROM FACTS. +</h3> +<p> +Once upon a time there lived at Hamburgh a certain merchant of the name +of Meyer—he was a good little man; charitable to the poor, hospitable +to his friends, and so rich that he was extremely respected, in spite +of his good nature. Among that part of his property which was vested +in other people's hands, and called debts, was the sum of five hundred +pounds owed to him by the Captain of an English vessel. This debt had +been so long contracted that the worthy Meyer began to wish for a new +investment of his capital. He accordingly resolved to take a trip to +Portsmouth, in which town Captain Jones was then residing, and take that +liberty which in my opinion should in a free country never be permitted, +viz. the liberty of applying for his money. +</p> +<p> +Our worthy merchant one bright morning found himself at Portsmouth; he +was a stranger to that town, but not unacquainted altogether with the +English language. He lost no time in calling on Captain Jones. +</p> +<p> +"And vat?" said he to a man whom he asked to show him to the Captain's +house, "vat is dat fine veshell yondare?" +</p> +<p> +"She be the Royal Sally," replied the man, "bound for Calcutta—sails +to-morrow; but here's Captain Jones's house, Sir, and he'll tell you +all about it." +</p> +<p> +The merchant bowed, and knocked at the door of a red brick house—door +green—brass knocker. Captain Gregory Jones was a tall man; he wore a +blue coat without skirts; he had high cheek bones, small eyes, and his +whole appearance was eloquent of what is generally termed the bluff +honesty of the seaman. Captain Gregory seemed somewhat disconcerted at +seeing his friend—he begged for a little further time. The merchant +looked grave—three years had already elapsed. The Captain demurred—the +merchant pressed—the Captain blustered—and the merchant, growing +angry, began to threaten. All of a sudden Captain Jones's manner +changed—he seemed to recollect himself, begged pardon, said he could +easily procure the money, desired the merchant to go back to his inn, +and promised to call on him in the course of the day. Mynheer Meyer went +home, and ordered an excellent dinner. Time passed—his friend came not. +Meyer grew impatient. He had just put on his hat and was walking out, +when the waiter threw open the door, and announced two gentlemen. +</p> +<p> +"Ah, dere comes de monish," thought Mynheer Meyer. The gentlemen +approached—the taller one whipped out what seemed to Meyer a receipt. +"Ah, ver well, I vill sign, ver well!" +</p> +<p> +"Signing, Sir, is useless; you will be kind enough to accompany us. This +is a warrant for debt, Sir; my house is extremely comfortable—gentlemen +of the first fashion go there—quite moderate, too, only a guinea +a-day—find your own wine." +</p> +<p> +"I do—no—understand, Sare," said the merchant, smiling amiably, +"I am ver vell off here—thank you—" +</p> +<p> +"Come, come," said the other gentleman, speaking for the first time, +"no parlavoo Monsoo, you are our prisoner—this is a warrant for the +sum of 10,000l. due to Captain Gregory Jones." +</p> +<p> +The merchant stared—the merchant frowned—but so it was. Captain +Gregory Jones, who owed Mynheer Meyer 500l., had arrested Mynheer Meyer +for 10,000l.; for, as every one knows, any man may arrest us who has +conscience enough to swear that we owe him money. Where was Mynheer +Meyer in a strange town to get bail? Mynheer Meyer went to prison. +</p> +<p> +"Dis be a strange vay of paying a man his monish!" said Mynheer Meyer. +</p> +<p> +In order to wile away time, our merchant, who was wonderfully social, +scraped acquaintance with some of his fellow-prisoners. "Vat be you in +prishon for?" said he to a stout respectable-looking man who seemed in +a violent passion—"for vhat crime?" +</p> +<p> +"I, Sir, crime!" quoth the prisoner; +<span class="pagenum"><a id="page156" name="page156"></a>[pg 156]</span> + "Sir, I was going to Liverpool +to vote at the election, when a friend of the opposite candidate had +me suddenly arrested for 2,000l. Before I get bail the election will +be over!" +</p> +<p> +"Vat's that you tell me? arrest you to prevent your giving an honesht +vote? is that justice?" +</p> +<p> +"Justice, no!" cried our friend, it's the Law of Arrest." +</p> +<p> +"And vat be you in prishon for?" said the merchant pityingly to a thin +cadaverous-looking object, who ever and anon applied a handkerchief to +eyes that were worn with weeping. +</p> +<p> +"An attorney offered a friend of mine to discount a bill, if he could +obtain a few names to indorse it—<i>I</i>, Sir, indorsed it. The bill +became due, the next day the attorney arrested all whose names were +on the bill; there were eight of us, the law allows him to charge two +guineas for each; there are sixteen guineas, Sir, for the lawyer—but +I, Sir—alas my family will starve before <i>I</i> shall be released. +Sir, there are a set of men called discounting attorneys, who live upon +the profits of entrapping and arresting us poor folk." +</p> +<p> +"Mine Gott! but is dat justice?" +</p> +<p> +"Alas! No, Sir, it is the law of arrest." +</p> +<p> +"But," said the merchant, turning round to a lawyer, whom the Devil had +deserted, and who was now with the victims of his profession; "dey tell +me, dat in Englant a man be called innoshent till he be proved guilty; +but here am I, who, because von carrion of a shailor, who owesh me five +hundred pounts, takes an oath that <i>I</i> owe him ten thousand—here am +I, on that schoundrel's single oath, clapped up in a prishon. Is this +a man's being innoshent till he is proved guilty, Sare?" +</p> +<p> +"Sir," said the lawyer primly, "you are thinking of criminal cases; +but if a man be unfortunate enough to get into debt, that is quite a +different thing:—we are harder to poverty than we are to crime!" +</p> +<p> +"But, mine Gott! is that justice?" +</p> +<p> +"Justice! pooh! it's the law of arrest," said the lawyer, turning on +his heel. +</p> +<p> +Our merchant was liberated; no one appeared to prove the debt. He flew +to a magistrate; he told his case; he implored justice against Captain +Jones. +</p> +<p> +"Captain Jones!" said the magistrate, taking snuff; "Captain Gregory +Jones, you mean!" +</p> +<p> +"Ay, mine goot Sare—yesh!" +</p> +<p> +"He set sail for Calcutta yesterday. He commands the Royal Sally. +He must evidently have sworn this debt against you for the purpose of +getting rid of your claim, and silencing your mouth till you could +catch him no longer. He's a clever fellow is Gregory Jones!" +</p> +<p> +"De teufel! but, Sure, ish dere no remedy for de poor merchant?" +</p> +<p> +"Remedy! oh, yes—indictment for perjury." +</p> +<p> +"But vat use is dat? You say he be gone—ten thousand miles off—to +Calcutta!" +</p> +<p> +"That's certainly against your indictment!" +</p> +<p> +"And cannot I get my monish?" +</p> +<p> +"Not as I see." +</p> +<p> +"And <i>I</i> have been arreshted instead of him!" +</p> +<p> +"You have." +</p> +<p> +"Sare, I have only von vord to say—<i>is</i> dat justice?" +</p> +<p> +"That I can't say, Mynheer Meyer, but it is certainly the law of +arrest," answered the magistrate; and he bowed the merchant out of +the room. +</p> +<h4> +<i>New Monthly Magazine</i>. +</h4> +<hr /> +<h3> + SONGS FOUND IN A GRECIAN URN. +</h3> +<center> + THE FIRST-BORN. +</center> +<div class="poem"><div class="stanza"> + <p> Beautiful, O woman! the sun on flower and tree,</p> + <p> And beautiful the balmy wind that dreameth on the sea;</p> + <p> And softly soundeth in thine ear, the song of peasants reaping,</p> + <p> The dove's low chant among the leaves, its twilight vigil keeping.</p> +</div><div class="stanza"> + <p> And beautiful the hushing of the linnet in her nest,</p> + <p> With her young beneath her wings, and the sunset on her breast:</p> + <p> While hid among the flowers, where the dreamy bee is flitting,</p> + <p> Singing unto its own glad heart, the poet child is sitting.</p> +</div><div class="stanza"> + <p> It stirreth up the soul, upon the golden waves to see,</p> + <p> The galley lifting up her crowned head triumphantly—</p> + <p> Io! Io! now she laugheth like a Queen of Araby,</p> + <p> While Joy and Music strew with flowers the pathway of her Chariotry!</p> +</div><div class="stanza"> + <p> And beautiful unto thy soul, at summer time to wait,</p> + <p> Till Moonlight with her sweet pale feet, comes dancing to thy gate;</p> + <p> Thy violet-eyes upturn'd unto thy love with timid grace,</p> + <p> He feels thine arm about his neck, thy kisses on his face.</p> +</div><div class="stanza"> + <p> Beautiful, O gentle girl, these pleasant thoughts to thee,</p> + <p> These chosen sheaves, long harvested within thy memory!</p> + <p> But when thy face grows dim, with weariness and care,</p> + <p> Thy heart, forgetting all its songs, awaketh but to prayer!</p> +</div><div class="stanza"> + <p> Thou lookest for a gleeful face, thine opening eyes to greet,</p> + <p> While coldness gathers on thy breast, the shadow round thy feet—</p> +<span class="pagenum"><a id="page157" name="page157"></a>[pg 157]</span> + <p> Beautiful, O woman, the green earth and the flowers may be,</p> + <p> But sweeter in that hour the voice of thy First-born Child to thee!</p> +</div><div class="stanza"> +</div></div> +<hr /> +<center> + THE ATHENIAN LOVER TO HIS MISTRESS. +</center> +<div class="poem"><div class="stanza"> + <p> The spirit of mine eyes is faint</p> +<p class="i2"> With gazing on thy light;</p> + <p> I close my eyelids, but within,</p> +<p class="i2"> Sweet, thou art shining bright,</p> + <p> Sitting amid the purple gloom,</p> +<p class="i2"> Like a flower-bird at night!</p> +</div><div class="stanza"> + <p> Thy beauty walketh by my side</p> +<p class="i2"> By the green wood, on the sea;</p> + <p> I hear thee in the bird that sings</p> +<p class="i2"> Upon the orange-tree;</p> + <p> Thy face upon the haunted streams</p> +<p class="i2"> Is looking up to me.</p> +</div><div class="stanza"> + <p> Gentle one, in grief I linger</p> +<p class="i2"> Beside the glimmering nest,</p> + <p> Till evening sinketh in the flowers,</p> +<p class="i2"> Like a weary fawn to rest,</p> + <p> Yea, my heart is sick with longing</p> +<p class="i2"> To dream upon thy breast!</p> +</div><div class="stanza"> + <p> From the dark of their golden lids</p> +<p class="i2"> Thy singing eyes look out,</p> + <p> Like doves in the olives hearing</p> +<p class="i2"> The shepherd's jocund shout,</p> + <p> As he wandereth with his pipe</p> +<p class="i2"> The sunny glen about.</p> +</div><div class="stanza"> + <p> I have opened mine eyes—</p> +<p class="i2"> Thy beauty will not part,</p> + <p> But thy feet are dancing round me,</p> +<p class="i2"> Lovely! that thou art—</p> + <p> The sweet breath of thine eyes doth fall,</p> +<p class="i2"> Like odour on my heart!</p> +</div><div class="stanza"> +</div></div> +<hr /> +<center> + TO AN ARCADIAN CHILD SLEEPING. +</center> +<div class="poem"><div class="stanza"> + <p> Sleep on—sleep on—the silver flowers</p> +<p class="i2"> A pillow for thy head may be,</p> + <p> While Evening with her band of hours</p> +<p class="i2"> Sits by thee silently.</p> +</div><div class="stanza"> + <p> From Morning in the vine-yards straying—</p> +<p class="i2"> Sweet child, so fair and meek!</p> + <p> She lieth down, and tired of playing,</p> +<p class="i2"> Darkens the bright grass with her cheek.</p> +</div><div class="stanza"> + <p> One arm upon her eyes she foldeth,</p> +<p class="i2"> O'er which her hair is softly fann'd,</p> + <p> And still with fainting grasp she holdeth</p> +<p class="i2"> The lilies in her hand.</p> +</div><div class="stanza"> + <p> Oh—wake her not! the forest streams</p> +<p class="i2"> With balmy lips are breathing rest;</p> + <p> Nor stir the garland of sweet dreams</p> +<p class="i2"> Which Sleep hath bound upon her breast.</p> +</div></div> +<h4> +<i>New Monthly Magazine</i>. +</h4> +<hr class="full" /> +<h2> +THE SELECTOR; AND LITERARY NOTICES OF <i>NEW WORKS</i>. +</h2> +<hr /> +<h3> + ADVENTURES OF A YOUNGER SON. +</h3> +<p> +These are three volumes of spirit-stirring scenes, understood to +be written by Captain Trelawney, the friend of Lord Byron. They are +said to embody many incidents of the early life of the writer, though +portions are too strongly tinged with romance to belong to sober +reality. The Younger Son is driven from his native hearth by a cruel +father. His proud spirit revolts at such oppression. He sings with Byron +</p> +<div class="poem"><div class="stanza"> + <p> And now I'm in the world alone,</p> +<p class="i2"> Upon the wide wide sea;</p> + <p> But why should I for others groan,</p> +<p class="i2"> When none will sigh for me.</p> +</div></div> +<p> +His father intends him for the church, but instead of being sent to +Oxford, he is taken to Portsmouth, and shipped on board a line of battle +ship, the Superb, as passenger to join one of Nelson's squadron; but +through delay he falls in with the Nelson fleet of Trafalgar, two days +after the deathless victory. He returns to England, and is sent to Dr. +Burney's navigation school. He next sails for the East Indies, and at +Bombay he falls in with an adventurous stranger, whom he is minute in +describing, "to account in part for the extraordinary influence he +gained, on so short an acquaintance," over his mind and imagination. +He became his model. The height of his ambition was to imitate him, +even in his defects. Thenceforth his life of adventure begins. In its +progress, he describes many beautiful scenes in the East with touching +enthusiasm, and some of his pictures of luxuriant nature are admirably +painted. +</p> +<p> +We pass over these to the heroine, at Port St. Louis: +</p> +<center> +<i>An Arabian Beauty</i>. +</center> +<p> +"Zela had the blood of a fearless race. She had been bred and +schooled amidst peril always at hand. Not having learnt to affect +what she did not feel, she crossed ravines, wound along precipices, +and waded through streams and rivers, not only without impeding us +by enacting a pantomimic representation of fears, tears, entreaties, +prayers, screaming, and fainting, but she was such a simpleton as not +even to notice them, unless, in the usual sweet, low tone of her voice, +to remark that they were delightful places to sit in, during the sultry +part of the day; or she would stop her pony over a precipice to gather +some curious flowers, drooping from a natural arch; or to pluck the +pendant and waving boughs of the most graceful of Indian tress, the +imperial mimosa, sensitive and sacred as love, shrinking from the +touch of the profane. +</p> +<p> +"'Put this,' she said, holding out a branch, 'in your turban; for I am +sure in some of these hollow caves and dreary chasms the ogres live; +they feed their young with human blood, and they love to give them the +young and beautiful. Put it in your turban, brother,—since you say I +must not call you master;—and never frown,—I do not like to see it, +for then you are not so handsome,—I mean, good, as when you smile. +Do not laugh, but take it. It will preserve +<span class="pagenum"><a id="page158" name="page158"></a>[pg 158]</span> + you from every spell and +magic. Nothing bad dares come near it.' +</p> +<p> +"While crossing a sandy level, suddenly she started, as her eye caught +some object. Without stopping her horse, which was ambling along, she +sprang off, and ran up a sand hill, like a white doe. Never having +witnessed any thing like this before, I was so astonished that she was +returning, ere I could overtake her to ask if an ogre had lured her with +his evil eye. 'O, no,' she cried,—'look here! You like flowers, but did +you ever see any so lovely as this?—Smell it,—'tis so sweet, that the +rose, if growing near it, loses its beauty and fragrance, from envy of +its rival.' +</p> +<p> +"Certainly I thought she was bewitched. It was a glaring, large, red +bough, full of blowzy blossoms, and yellow berries, with a musky, foeted +odour. 'Why,' I exclaimed, 'you have as much reason to be jealous of old +Kamalia, your nurse, as the rose to be jealous of such a scraggy bramble +as this! Faugh! the smell makes me sick.' +</p> +<p> +"I suppose I was instigated to make this rude speech by her fondling +and kissing it. Her dark eyes expanded; and she seemed, for an instant, +to view me with astonishment, then with sorrow; as they closed, I +perceived that their brightness was gone, and the long, jetty fringe, +which arched upwards as it pressed her cheek, was covered with little +pearly dew-drops. The branch fell from her hand under my feet, her +sprightly form drooped, and the tones of her voice reminded me of the +time when she hung over her dying parent, as she said,—'pardon me, +stranger! I had forgotten you are not of my father's land. This tree +covered my father's tent, sheltered us from the sun, and kept away the +flies, when we slept in the day. Our virgins wreathe it in their hair, +and, if they die, it is strewed over their graves. So, I can't help +loving it better than any thing. But, since you say it makes you sick, +I won't love it, or gather it any more.' Then her words became almost +inarticulate from sobbing, as she added,—'Why should I wear it now? +I belong to a stranger!. My father is gone!' +</p> +<p> +"I need scarcely say that I not only returned the flowers, and pleaded +my ignorance, but I went up to the hill, and pulled up the tree by the +roots. 'Sweet sister,' said I, 'I was only angry with it because you +abused the favoured tree of our country, the rose. But now, as the sun +shines on it, and I see it nearer,'—looking at her,—'I do think the +rose may envy it, as the loveliest of my country women might envy you. +I'll plant it in our garden.' +</p> +<p> +"'O, how good you are!' she exclaimed; 'and I'll plant a rose-tree near +it, and they shall mingle their sweets; for our love and care of them +will make them live together without envy. Every thing should love each +other. I love every tree, and fruit, and flower.' +</p> +<p> +"Still I observed, as her thin robes were disarranged, that her little +downy bosom fluttered like an imprisoned bird panting for liberty; and, +to turn her thoughts from what had pained her, I said,—'Do not fear, +dear Zela. That is the last stream we have to cross; and then we shall +ride over that beautiful plain.' +</p> +<p> +"'O, stranger!' she replied, 'Zela never feared any thing, but her +father, when angry; and then, those who feared not to gaze on the +lightning, when all the world appeared to be on fire, feared to look +in his face. Then his voice was louder than the thunder, and his lance +deadlier than the thunderbolt. Last evening, when you talked to that +tall man, who is so gentle, you looked like my father; and I thought you +were going to kill him, and I wanted to tell you not; for I have read +his eyes, and he loves you much. It is very bad to be angry with those +that love us.' +</p> +<p> +"'Oh, you mean Aston! No, dear, I was not angry with him. I love him +too. We were talking of the horrid cruelties practised on the poor +slaves here; and I was angry at that.' +</p> +<p> +"'I wish I knew your language! How I should have loved to hear you! And +then I should have slept; but being ignorant of that, I did nothing but +weep, because I thought I saw you angry with one that loves you.'" +</p> +<hr /> +<p> +"It was only in Zela's absence that I could dwell on her portraiture. +She had just turned her fourteenth year; and though certainly not +considered, even in the east, as matured, yet, forced like a flower, +fanned by the sultry west wind, into early developement, her form, like +its petals bursting through the bud, gave promise of the rarest beauty +and sweetness. Nurtured in the shade, her hue was pale, but contrasted +with the date-coloured women about her, the soft and transparent +clearness of her complexion was striking; and it was heightened by +clouds of the darkest hair. She looked like a solitary star unveiled +in the night, The breadth and depth of her clear and smooth forehead +were partly hidden by the even silky line from which the hair +<span class="pagenum"><a id="page159" name="page159"></a>[pg 159]</span> + arose, +fell over in rich profusion, and added to its brightness; as did the +glossy, well-defined eye-brow, boldly crossing the forehead, slightly +waved at the outer extremities, but not arched. Her eyes were full, even +for an orientalist, but neither sparkling nor prominent, soft as the +thrush's. It was only when moved by joy, surprise, or sorrow, that the +star-like iris dilated and glistened, and then its effect was most +eloquent and magical. The distinct ebon-lashes which curtained them were +singularly long and beautiful; and when she slept they pressed against +her pale cheeks, and were arched upwards. +</p> +<p> +"That portion of the eye, generally of a pearly whiteness, in hers was +tinted with a light shade of blue, like the bloom on a purple grape, or +the sky seen through the morning mist. Her mouth was harmony and love; +her face was small and oval, with a wavy outline of ineffable grace +descending to her smooth and unruffled neck, thence swelling at her +bosom, which was high, and just developing into form. Her limbs were +long, full, and rounded, her motion was quick, but not springy, light +as a zephyr. As she then stood canopied beneath the dense shade of that +sacred Hindoo tree, with its drooping foliage hanging in clusters round +her, in every clasped and sensitive leaf of which a fairy is said to +dwell, I fancied she was their queen, and must have dropped from one of +the leaves, to gambol and wanton among the flowers below. Running to +her, I caught her in my arms, and said, 'I watched your fall, and have +you now, dear sprite, and will keep you here!'—pressing her to my +bosom. +</p> +<p> +"'Oh, put me down! You hurt me,—I have not fallen,—oh, let me go!' +</p> +<p> +"'Will you promise then not to take flight to your leafy dwelling, in +that your fairy kingdom-tree?' +</p> +<p> +"'What do you mean? Oh, let me go,—you'll crush me!' +</p> +<p> +"I gently placed her on the ground, and told her my fears. The instant +I unclutched her, she ran to her old attendant, scared like a young +leveret; and this was my first embrace of my Arab maid. +</p> +<p> +"That it may not be considered I exaggerate, when speaking of the Arabs +in India generally, I must refer the reader to what a recent, learned, +and unprejudiced traveller says of them: 'The Arabs are numerous in +India; their comparative fairness, their fine, bony, and muscular +figures, their noble countenances, and picturesque dress, intelligent, +bold, and active,' &c. +</p> +<p> +"Zela's father was all this, and her mother a celebrated beauty brought +from the Georgian Caucasus, and twice made captive by the chance of war. +After giving birth to Zela, she looked, and saw her own image in her +child, blessed it, and yielded up her mortality. Is it to be marvelled +at, that the offspring of such parents was as I have described, or +rather what I have attempted to describe? For I am little skilled in +words, or words are insufficient to represent what the eye sees, and +the heart feels." +</p> +<p> +We must return to these very attractive volumes. +</p> +<hr class="full" /> +<h2> + THE GATHERER. +</h2> +<hr /> +<p> +<i>A Mistake</i>.—In consequence of some transposition by which an +announcement of the decease of a country clergyman had got inserted +amongst the announcements of the marriages in a country paper a few +days since, the announcement read thus: "Married the Rev. ——, curate +of ——, to the great regret of all his parishioners, by whom he was +universally beloved. The poor will long have cause to lament the +unhappy event." +</p> +<p> +<i>New Bankrupt Court</i>.—One of the inferior judges, whose salaries +are, by the Act, to be paid out of the fees, seeing that the whole +amount was absorbed by the chief, observed to an associate on the bench, +"Upon my word, R——, I begin to think that our appointment is all a +matter of moonshine." "I hope it may be so," replied R——, "for then +we shall soon see the first quarter." +</p> +<p> +The same humorous judge had listened to a very long argument on a +particular case in which the counsel rested much upon a certain act of +parliament. His opponent replied, "You need not rely on <i>that</i> act, +for its teeth have been drawn by so many decisions against it, that it +is worth nothing." Still the counsel argued on, and insisted on its +authority; after listening to which for a good hour, his lordship drily +remarked, "I do believe all the teeth of this act have been drawn, for +there is nothing left but the jaw."—<i>Literary Gazette</i>. +</p> +<p> +<i>Criticism</i>.—A print of a wounded leopard is described by a +contemporary as "a powerful exhibition of animal agony." Did our critic +ever hear of vegetable agony? +</p> +<p> +<i>Humbug</i>.—A correspondent of the <i>Times</i> says "Every body is not +acquainted with the etymology of the word +<span class="pagenum"><a id="page160" name="page160"></a>[pg 160]</span> + Humbug. It is a corruption +of Hamburgh, and originated in the following manner: During a period +when war prevailed on the Continent, so many false reports and lying +bulletins were fabricated at Hamburgh, that, at length, when any one +would signify his disbelief of a statement, he would say, 'You had +that from Hamburgh;' and thus, 'That is Hamburgh,' or 'Humbug,' became +a common expression of incredulity." +</p> +<p> +<i>A Clincher</i>.—An American paper says, this is the method of catching +tigers in India:—"A man carries a board, on which a human figure is +painted; as soon as he arrives at the den, he knocks behind the board +with a hammer; the noise rouses the tiger, when he flies in a direct +line at the board, and grasps it, and the man behind clinches his claws +in the wood, and so secures him." +</p> +<p> +<i>Franking Letters</i>.—The Princess Augusta asked Lord Walsingham for +a frank; he wrote one for her in such detestable characters that, at the +end of a week, after having wandered half over England, it was opened, +and returned to her as illegible. The Princess complained to Lord +Walsingham, and he then wrote the frank for her so <i>legibly</i>, that at +the end of a couple of days, it was returned to her, marked +"FORGERY."—<i>The Town</i>. +</p> +<center> +<i>Epigram from Scarron</i>. +</center> +<div class="poem"><div class="stanza"> + <p> A Confessor was caugh t'other day rather jolly,</p> + <p> Who observed, "When a man has committed a folly,</p> + <p> If he has any sense left, hastens straightway to me,</p> + <p> When, confessing his guilt, I can soon set him free;</p> + <p> But how hard is my fate! for when wrong I have done,</p> + <p> Absolution's denied me by every one;</p> + <p> In which case, that I may from conscience escape,</p> + <p> Take refuge from thought in the juice of the grape."</p> +</div></div> +<h4> +M.T. +</h4> +<p> +<i>Signs</i>.—To trace the origin of signs would be an amusing relaxation +for the Society of Antiquaries. Who could have imagined that "bag o' +nails," was a corruption of the Bacchanals, which it evidently is from +the rude epigraph still subjoined to the fractured classicism of the +title? In the same manner the more modern "Goat and compasses" may be +identified with the text of "God encompasseth us," which was a favourite +motto amongst the ale-house Puritans.—<i>Blackwood's Magazine</i>. +</p> +<p> +<i>Half-honesty</i>.—A few nights since a friend gave a hackney-coachman +two sovereigns instead of two shillings for his fare; when the coachman +turned sharply and said, "Sir, you have given me a sovereign," keeping +back the other; for which supposed honesty he was rewarded. +</p> +<h4> +C.D. +</h4> +<p> +<i>Proxy</i>.—In 1436, we find the Bishop of Hola, in Iceland, whimsically +enough hiring the master of a London merchant ship to sail to Iceland as +his proxy, and to perform the necessary visitation of his see; the good +prelate dreading in person to encounter the boisterous northern ocean. +</p> +<h4> +T. GILL. +</h4> +<p> +<i>Swelled Ankles at a Discount</i>.—In the year 1699, when King William +returned from Holland in a state of severe indisposition, he sent for +Dr. Radcliffe, and showing him his swollen ankles, while the rest of +his body was emaciated, said, "What think you of these?" "Why truly," +replied the doctor, "I would not have your majesty's two legs for your +three kingdoms." This freedom was never forgiven by the king, and no +intercession could ever recover his favour towards Radcliffe. +</p> +<h4> +P.T.W. +</h4> +<p> +Judge Rumsey was so excellent a lawyer that he was called the <i>Picklock +of the Law</i>. +</p> +<p> +<i>Commerce and Theft</i> in every age and country have gone regularly +together. Commerce accumulates riches, supplies the commodities to be +stolen, supplies therefore the temptation, and puts the temptation in +the way. Mercury was the God at once of Peace, of Merchants, and of +Thieves; and it is not very long since an African king said he designed +to send his son to Europe, "to read book and be rogue like white man." +</p> +<h4> +T. GILL. +</h4> +<hr class="full" /> +<blockquote class="footnote"> +<a id="footnote1" name="footnote1"></a> +<b>Footnote 1</b>: +<a href="#footnotetag1">(return)</a> +<p> +Member of the Royal College of Surgeons in London, &c. +</p> +</blockquote> +<blockquote class="footnote"> +<a id="footnote2" name="footnote2"></a> +<b>Footnote 2</b>: +<a href="#footnotetag2">(return)</a> +<p> +United Service Journal, Jan. 1832. +</p> +</blockquote> +<blockquote class="footnote"> +<a id="footnote3" name="footnote3"></a> +<b>Footnote 3</b>: +<a href="#footnotetag3">(return)</a> +<p> +I did not observe them take the trouble of wrapping up the + ingredients together, as is customary in India; but some would + eat the betel leaf, previously dipping it in some lime (made + from burnt coral) which he held in his hand, and ate the + areka-nut afterwards; they had no tobacco to eat with it, nor + did I hear them inquire for any. +</p> +</blockquote> +<hr class="full" /> +<center> +With many Engravings, price 5<i>s</i>. +<br /> +<b>ARCANA OF SCIENCE</b> +<br /> +And Annual Register of the Useful Arts for 1832. +</center> +<center> +Fifth Year. +</center> +<p> +"This work is exceedingly valuable, and may be considered as an +Encyclopaedia, to which the most eminent of their time are constantly +contributing."—<i>New Monthly Magazine, March</i>. +</p> +<center> +Printed for JOHN LIMBIRD, 143, Strand. +</center> +<hr class="full" /> +<p> +<i>Printed and published by J. LIMBIRD, 143, Strand, (near Somerset +House,) London; sold by ERNEST FLEISCHER, 626, New Market, Leipsic; +G.G. BENNIS, 55, Rue Neuve, St. Augustin, Paris; and by all Newsmen +and Booksellers.</i> +</p> +<div>*** END OF THE PROJECT GUTENBERG EBOOK 12497 ***</div> +</body> +</html> diff --git a/12497-h/images/537-1.png b/12497-h/images/537-1.png Binary files differnew file mode 100644 index 0000000..108f3cb --- /dev/null +++ b/12497-h/images/537-1.png diff --git a/12497-h/images/537-1.png~ b/12497-h/images/537-1.png~ Binary files differnew file mode 100644 index 0000000..108f3cb --- /dev/null +++ b/12497-h/images/537-1.png~ diff --git a/12497-h/images/537-2.png b/12497-h/images/537-2.png Binary files differnew file mode 100644 index 0000000..93202c2 --- /dev/null +++ b/12497-h/images/537-2.png diff --git a/12497-h/images/537-2.png~ b/12497-h/images/537-2.png~ Binary files differnew file mode 100644 index 0000000..93202c2 --- /dev/null +++ b/12497-h/images/537-2.png~ |
