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SHORT REVIEWS AND NOTICES.

For the Daguerreotype.

EUTHANASY; or Happy Talk towards the end of Life. By William Mountford, author of Martyria," Christianity the Deliverance of the Soul, and its Life." Boston: Crosby & Nichols. 15mo. pp. 478.

Barry Cornwall's poems, and the skylark which the Ettrick shepherd heard singing:

"O, my love that is bonny, and young, and chaste, As sweetly she sits in her mossy nest."

"And holier and sublimer all objects grow, with the growing holiness of the beholders. Rivers there are, the Yarrow, the Otter, the Setheir ripplings, since they have been sung of by vern, and others, that make unearthly music in Wordsworth, and Coleridge, and Milton. And We had heard this volume so highly spoken there are birds that died long ago, and yet that of, that we sat down to its perusal prepared for are living on still: the cuckoo of Logan's heara disappointment; but before we had reading, the stormy petrel, and the horned owl of many pages, that feeling gave way to one of intense enjoyment and delight. A glorious subject, the immortal life of the soul of man, is here treated of; and the ideas are so pure and fresh, the language is so simply noble and eloquent, and so free from the affectation which mars the writings of some of the most original thinkers, that in reading it one seems to hear the voice of nature herself; to be sitting on the seashore after the fatigue of a busy day, while the cool breeze of heaven is fanning the flushed cheek, and refreshing the weary spirit. We can bestow no higher praise than to say that in reading the book we were at almost every page reminded of Wordsworth. Our limits will not admit of any thing like an outline of the contents, but we cannot resist the temptation of extracting one or two passages, selected, not because they are the most beautiful, but because they are most easily separated from the context.

"It is impossible that you could think of the future life, in the same way as you could think of to-morrow. In regard to the manner of the life to come, you can only say, that it will be a spiritual world, a world of spirits. But of the way of the present life, a thousand things might be said. It is sleeping and waking; it is 'good night,' on going to bed, and 'good morning,' on getting up; it is to wonder what the day will bring forth; it is sunshine and gloominess; it is rain on the window, as one sits by the fire: it is to walk in the garden, and see the flowers open, and hear the birds sing; it is to have the postman bring letters; it is to have news from east, west, north, and south; it is to read old books, and new books; it is to see pictures, and hear music; it is to have Sunday; it is to pray with a family, morning and evening; it is to sit in the twilight, and meditate; it is to be well, and sometimes to be ill; it is to have business to do, and to do it; it is to have breakfast, and dinner, and tea; it is to belong to a town, and to have neighbours, and to be one in a circle of acquaintance; it is to have friends to love one; it is to have sight of dear old faces; and with some men it is to be kissed daily by the same loving lips, for fifty years; and it is to know themselves thought of many times a day, in many places, by children, and grandchildren, and many friends." p. 50.

*O, I had forgotten Shelley's poem on the Sensitive Plant! It is a wonderful poem. In the beginning of it, there are flowers-a garden full of them, that will live forever. I have withered to-morrow; but in my mind's eye, I now blossoms in my eye, but they will be have flowers that Skelley has shown me, and they are unfading. And why are they? Because some little the meaning of them-what is, as it were, the meaning of them-has been shown to my soul. There is the lily, and there is the hyacinth :

:

"And the rose, like a nymph, to the bath address'd,
Till, fold after fold to the fainting air,
Which unveiled the depth of her glowing breast,
The soul of her beauty and love lay bare.”

p. 326.

One of the great charms of Enthanasy is the intimate knowledge which the author possesses of the whole range of English literature, the exquisite felicity with which he introduces quotations, and the just appreciation which he has of their beauties. We will conclude our notice with a brief extract illustrative of this fact:

"And next after early baptism in the name of Jesus Christ, I thank God for my mothertongue's having been English; for by this I was made heir to the mind of Shakspeare; owner of a key to the treasure-house of Locke's thought; one acquainted with Sir Thomas Browne's worth and oddity; free of a church-sitting under Isaac Barrow; a fishing companion of Isaac Walton's; and one to differ from Bishop * I think Ken, and yet to love him. it much that I have lived in some of the riper years of Wordsworth, and Thomas Carlyle, and Ralph Waldo Emerson. It is not a little to have learned what it is that Orville Dewey preaches. It is something, too, that I have been a reader of Alfred Tennyson, and that, from over the Atlantic, I have heard Longfellow sing his ballads. And it is as though I could die more confident of not being forgotten before God, for having been of the same generation with John Foster and Thomas Arnold and Henry Ware." p. 104.

PRINCIPLES OF ZOOLOGY: Teaching the Structure, Development, Distribution, and Natural Arrangement of the Races of Animals, living and extinct; with Numerous Illustrations. For the use of Schools and Colleges. Part I. Comparative Physiology. By Louis Agassiz and Augustus A. Gould.-Boston: Gould, Kendall & Lincoln, 59 Washington street, 1848.

We first gave to this volume a cursory examination, but were led by its absorbing interest to a careful perusal, and yet again to its re-perusal and examination; and rose from the rich treat it afforded, with something at least of the feeling that prompted the exclamation of one who had contemplated the wonderful works of God in the displays of his wisdom, power and goodness, in the scenes above us, An undevout astronomer is mad." Not only do we read lessons that are well calculated to inspire adoring views of Deity, in the heavens; but in all nature instruction and most profitable teachings are before us. True science is indeed a friend to religion-the hand-maid of devotion. Geology, as a science understood, never contravenes, but is always corroborative of the scripture account of the creation; and that science so nearly allied to it, which the volume in review illustrates, will be found, by the aid of the judicious arrangement and learning of the treatise, to be full of wholesome interest, making us familiar with the very ideas of the Creator-the plan of God himself.

In this department of Natural History there has hitherto been a deficiency which the work before us well supplies. It is, as it professes to be, an "epitome of the leading principles of the science of Zoology as deduced from the present state of knowledge, so illustrated as to be intelligible to the beginning student." It is simple, easily understood, multum in parvo, and skilfully adapted to its design. It should be read, aye, studied by all. Let it become a text-book in our schools, male and female, as well as colleges. It is admirably conceived, and handsomely printed, furnished with all the cuts necessary fully to illustrate the subjects. The present Volume is Part I, devoted to Comparative Physiology, and in its department is complete.

The source from which it emanates is sufficient to create in the mind of every student of Natural Science a desire to avail himself of its advantages. Prof. Agassiz has a reputation that needs no comment where science is known. Dr. Gould, his associate in the execution of this admirable work, is also well known as one of our most eminent naturalists. It will do much to create a thirst for knowledge; much

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It is at first sight a somewhat surprising fact, that, although the French language is far more extensively studied among us than the German, we yet know far less of the literature of France, than we do of that of Germany. There are thousands of persons who have acquired a smattering of French, and who are yet scarcely able to name a single French author, except, perhaps, the compiler of the Grammar in which they have been doomed to study; and these same persons, though they are wholly ignorant of German, are familiar with the names of the principal writers of Germany, and even with translations of their works.

Much of this ignorance is undoubtedly due to a difference in popular taste. Somehow or other, an Anglo-Saxon cannot think and feel like a Frenchman; and can therefore take no delight in a vast majority of the works, which in France are lauded to the skies. A French tragedy appears to us to be fustian, and French poetry trash. And on this point there exists perfect reciprocity; even Shakspeare has no admirers in France. If there is an exception to be made, it is in favor of the novelists of both countries.

We are however forced to acknowledge that there are some departments of literature, in which France has achieved a proud preeminence. These are philosophical history and the physical and political sciences. It is a misfortune that there is not among us a far more extensive knowledge of the many valuable books upon these subjects, which have issued from the French press, and we are glad to see that the work before us contains brief but judicious remarks upon many of the more important among them. Even those who are incapacitated from perusing the books in question, will thus be able to gain some insight into the workings of the French mind. Without such an insight, the events which are at this moment passing in France are utterly unintelligible. There is a war of opinions raging;-hushed indeed for the moment by the despotism of the sword, but sooner or later to burst forth with tenfold fury; - the true nature of which can only be understood by those who have some knowledge of the writings in which these opinions are promulgated.

The present dictator of France is a soldier; but power is even now escaping from his grasp, and then it will once more become the object of contention between the Thiers, the Lamartines, the Louis Blancs, the Cabets, and all the other master-minds of France, whose names and deeds are to be found not in the annals of the battle-field, but on the title-pages of books. Ignorance on these points is, as we have stated, a misfortune; and we therefore hail the present volume as a most opportune and valuable acquisition.

The notes of the American editor add very much to the interest of the work, although, in some instances, we are compelled to differ from his views. We dissent, for instance, from the judgment which he forms of Paul de Kock, whom he calls the Smollet of France, and fully coincide in the opinion of M. de Vericour, who with more justice compares him to Dickens, and thinks "Oliver Twist and Nicholas Nickleby superior to anything Paul de Kock ever wrote."

THE FRENCH REVOLUTIONS, from 1789 to 1848. By T. W. Redhead. In three Vols. Boston: Gould, Kendall & Lincoln. 1848.

The strong interest felt by every reader in the history of the French Revolution under Louis XVI. is now, if possible, heightened by the recent occurrence of events, which if they do not rival the scenes then enacted in grandeur or in atrocity, are of equal importance in their bearing upon the social and political condition of Europe. The author of the work before us has performed his task with ability and impartiality, and has evidently spared no pains in consulting the best authorities for the facts which he narrates. The work is written in a simple, but vigorous, style; though here and there a gallicism has crept in, as, p. 290, "he was decerned a public funeral." We can cordially recommend it as, on the whole, better calculated to meet the wants of the generality of readers, than any other work on the same subject.

THE NATIONAL PSALMIST: a Collection of the most popular and useful Psalm and Hymn Tunes, together with a great variety of new Tunes, Anthems, Sentences, and Chants, the whole forming a most complete Manual of Church Music, for Choirs, Congregations, Singing Schools, and Musical Associations. By Lowell Mason and George James Webb. Boston: Tappan, Whittemore & Mason.

When we first took up this collection, it did not appear to us to fall within our province, as conductors of a Miscellany of Literature and Science, to give it a place in our notices of

new books; but a little reflection brought us to a different mind. The history of music, from the earliest times, furnishes an uninterrupted succession of testimony to its influence in soothing the evil passions, animating the affections, and refining the senses, as well as contributing to devotion. Hence, both social and ancient profane history, as also the writings of modern times, unite in commending its influence.

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Among the ancient Hebrews, music was in general use from the time of Moses. As when creation was launched from its mighty Maker's hand, 'the morning stars sang together, and all the sons of God shouted for joy," so, it would seem that this primeval practice was early imitated by man. In their religious services, in their public and private rejoicings, at their feasts, and in their mournings, among the Hebrews, music ever found a distinguished place. In these performances, both sexes bore a part, as did legislators, and prophets, judges, and kings.

To the practice and influence of music, in the early ages both of Greece and Rome, history bears witness most decidedly. Among the ancient Greeks, music and poetry, for a long period, constituted an important part of national education, and were the grand medium of instruction in policy, morality, and virtue. Their youth were made familiar with lyre and song, as an appropriate recreation and important discipline, tending to all that is amiable, ennobling, and praiseworthy in mind and manners. The statesman, the warrior, the man of general science, and the bard, were alike interested in the exercise; whilst the priest regarded music as an important part of the religious service of their heathen rites. And although music seems to have been less understood and refined, among the ancient, than even in the fabulous ages of Greece, yet as the arts and sciences advanced, their melody and song improved.

Passing by other periods of English history, it may be remarked that Alfred the Great, himself excelling in the science, founded a Professorship of Music at Oxford. Great encouragement was given to the art, and music was considered an important part of polite education. Henry VIII. was skilled in music, as was also Wolsey, and others of the royal family and nobility. Edward VI., Mary, and Elizabeth, were all practical musicians, and cherished great fondness for the musical art. Charles II. was distinguished for his musical taste, and as a patron of social music, lending his best influence for its improvement. formerly required by one of the English Colleges, that those who would aspire to a fellow

It was

us of Mrs. Hemans.

ACKNOWLEDGMENT-OUR LATE PUBLISHERS. In commencing our 3d volume, under new arrangements, we have, as was anticipated in the concluding article of the last volume, taken leave of the former publishers. We desire, on the occasion, to say a few words in explanation and acknowledgment.

ship, should, to a certain degree, be proficients Dr. Lyons has made no mean addition to in the art of music; the statutes directing that the sacred minstrelsy of America, and we infer such shall be "bene nati, bene vestiti, et me- from the fact, that the little volume before us diocriter docti in plano cantu." And, without has already reached a third edition, that his enumerating more instances, it may be safely poetical talents are justly appreciated by a large remarked, that the interests of true religion circle of admirers. The Christian Songs have generally been most advanced where social do not equal the "Christian Year" or the music has been most esteemed and cultivated." Cathedral" in the fulness of the meaning or It is a good omen that the style of music the sublimity of the ideas; but they always which has been cherished and most approved contain pleasing and chastened sentiments, and in the best days of Christianity, is now gradual- the versification is smooth and harmonious. ly coming again into use among nearly all the There are several among them, which remind various denominations into which Christendom is divided; and we are glad to see, in the Collection under review, the renewed effort of one who has been so assiduous in the cause, and has devoted so large a portion of his time and talents to the improvement of sacred music (LOWELL MASON, than whom it is doubted if any person in this country has rendered to the department of sacred music more important service), with so efficient a coadjutor as G. J. WEBB. We take pleasure too in witnessing in this effort the prominence which is given to the Gregorian style the plain song so well adapted to the union of choir and congregation, as well as beautiful, effective, and especially appropriate to public worship, in preference to the miserable minstrelsy which has so much prevailed in modern times. The Collection contains a large proportion of the best tunes and chants that were ever written. The preface we have read with much pleasure and entire approbation. It bears the impress of sound judgment, excellent taste, and erudition. The Instructions in the Elements of vocal music, and the whole arrangement, are in keeping with the design; and the Collection will, without doubt, receive extensive patronage.

--

CHRISTIAN SONGS. By the Rev. James Gilborne Lyons, LL.D. Third Edition, with Additions. Philadelphia: George S. Appleton. 1848.

The editors have hitherto been sole proprietors of the Daguerreotype; but, believing that the best interests of a periodical are most permanently secured by the publisher having an interest in it beyond the agency of publication, and from the nature of the business of the former publishers, it being impracticable for them to give to the work that attention which it requires, we have made the arrangements already announced. In parting from Messrs. TAPPAN, WHITTEMORE & MASON, we would express the obligations which our intercourse with these gentlemen has imposed. Their kindness, courtesy, and gentlemanly bearing in all our acquaintance with them, will be gratefully remembered, and entitles them to our high respect. May the success of their extensive and increasing business, which places them among the foremost of the pubfishing and bookselling houses in our country, be equal to their merits. Their store, it is almost needless to say, is at 114 Washington street.

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ANNALS OF THE ARTISTS OF SPAIN.*

There was a time when no country in Europe-not even that of our troublesome neighbors across the Channel- occupied a more prominent place in the thoughts of Englishmen of all classes than the land of Murillo and Cervantes. Soon after the invention of printing and the discovery of America, the two greatest events in modern history, circumstances placed England and Spain in a state of juxtaposition, which was destined ere long to become one of antagonism. A Spanish princess was married successively to the two sons of Henry VII. Her daughter placed the marital crown of England on the head of Philip II. To these friendly, but not very propitious alliances, succeeded the continual collisions of English enterprise and Spanish colonization-the sturdy opposition of our patriotic Protestantism to the Catholic ambition of the proud monarch of Spain and the Indies. If Essex interrupted the busy commerce of Cadiz with the blaze of torches and the clash of arms, there were, on the other hand, many occasions in which Spanish and English traders followed their common object in unison, if not in harmony; and long before the obituary of the year 1616 had recorded the deaths of Shakspeare and Cervantes, nominally on the same day, the English language had stocked its colloquial Vocabulary with a variety of Spanish words and phrases a sufficient proof of familiar intercourse between the two nations, which began and completed the colonization or conquest of the tropics. A little later, the masterpieces of Spanish literature were naturalized in this country by means of translations, which were spirited at least, if not literal. Roger l'Estrange's very free version of Quevedo was a fashionable book in the seventeenth century; and Butler, in reproducing the knight of La Mancha and his squire, under the metempsychosis of Hudibras and Ralph, availed himself of the common privilege of presenting an old friend under a new face. As Spain sank into insignificance under the rule of the Bourbons, our old love for the literature of the Peninsula reawakened in a hearty welcome of the fictions of Le Sage; but, step by step, we lost our interest in the faded flowers and withered leaves of a literary chaplet, which was once one of the gayest; and, by

Annals of the Artists of Spain. By William Stirling, M.A. London, Ollivier. 1848. 3 vols. 8vo. 4

VOL. III.

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the end of the last century, Spain was interesting only as the country which could not deprive us of Gibraltar, or as a decayed maritime power, which sent forth squadrons of clumsy three-deckers to fall a prey to the compact and active fleets of Jervis and Nelson. If we troubled ourselves with inquiries into Spanish manners and customs, we learned from Mr. Swinburne, himself a Catholic traveller, to laugh at the superstition, to pity the poverty, and to reprobate the dirty habits of the Dons; and our general idea of Castile and Arragon was vague enough we thought it only a second edition of the land of Bashan a land of Ogs and oxen - of strapping matadors and long-horned bulls. During the Peninsular war, as during the War of Succession, we had more thought of France than of Spain; at any rate, the carnage of Badajoz and Albuera, the glories of Salamanca and Vittoria, were themes of too stirring a nature to suggest any peaceful thoughts of the twin arts of poetry and painting. It is true that French plunderers and English picture-dealers made the rest of Europe better acquainted than had previously been the case with the merits of the Spanish school; but at that time our tourists had more of the red-coat than the red-book about them, and their movements were directed rather by Sir George Murray, the quarter-master-general, than by Mr. John Murray, that master-general of good quarters and quarterly reviews.

The

Quite recently, however, our more general interest in Spanish life has revived. lively, but we must confess to ourselves, at least-rather apocryphal journals of Mr. Borrow, "the Bible-scatterer,' as he has been called, and the not less lively and infinitely more valuable works of Mr. Ford, have again opened the Peninsula to the Englishman who is desirous of understanding the national peculiarities of this remarkable people. A little earlier, Spain was set before us, in its comfortless religious aspect, by the memoirs which Blanco White wrote at the first stage of his journey, from confiding superstition to scepticism and despondency. And, in fact, there has been, for some time, every disposition on the part of our countrymen to welcome original contributions to our knowledge respecting the Peninsula and its inhabitants.

On one subject, in particular, there was an opening for almost any amount of literary labor, namely, the fine arts of Spain. Pos

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