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dition, and have caught and given permanence, by a few drops of ink, to the odd, curious and instructive Scottish proverbial expressions of the past, but it is only justice to say, that Mr. Andrew Henderson has outstripped them all, and now gives to bis countrymen, not only the best and fullest collection of our national proverbs, but that in a form at once valuable to the man of letters and the man of the world.
The introductory essay, by Mr. Motherwell, is replete with the Bibliographical lore for which that gentleman is so justly celebrated. In this learned treatise, he has not only shown us what has been done by all the previous Scottish collectors, for the purpose of rescuing the proverbial " wisdom of our ancestors" from oblivion, but likewise what has been accomplished by Greek, Roman and English Antiquarians. As a Bibliographical Essay it is equal to anything that we have seen from the pens of either D'Isreali or Dibdin. Mr. Motherwell, after discussing the bibliographical history, enters at some length into the philosophy of proverbs, and proves satisfactorily, that "in relation to changes in the manners of a people, their customs, and various minute incidents connected either with places or persons," these quaint sentences, or picturesque aphorisms, like traditionary lyrics, frequently preserve particulars which contemporary history has failed to record. We agree also with the ingenious writer of the treatise, that the " domestic habits of a people are best known by their proverbs," and it is perhaps a matter of regret to perceive, that from the number which Mr. Henderson has arrayed under the head of " Dirt," there exists no fewer than jifteen sayings, one half of which at least, have been contrived to excuse filthiness! Mr. Motherwell next enters upon the antiquity of proverbs, and in treating the subject makes the following judicious observations:—
Ere letters were invented, wisdom was abroad in the world. Proverbs are the germs of moral and political science, and they not unfrequeutly constituted the compendious vehicles for the transmission of the dogmas of religion, and the first principles of philosophy, of arts and sciences. In this shape, oral tradition preserved among primitive ages the knowledge of times still more remote; and, what marble, and brass, and other devices of human invention have allowed to perish, proverbs, floating upon the living voice, have perpetuated. It would form no incurious speculation to analyse the various ingenious aids resorted to in the construction of these short sentences, to give them currency, and furnish aids to the memory. Brevity is a distinguishing characteristic of them all. Weight of sentiment, and justness of metaphor, ought to be another, to justify the eulogy of Ti Hot son, where he says, "the little and short sayings of wise and excellent men are of great value, like the dust of gold, or the least sparks of diamonds." Antithetical point recommends one class; alliteration, or consonance of letters, another. Some excite attention by a witty and unexpected combination of ideas, and others, by a caustic or sly humour; while not a few, and these, perhaps, not the least numerous, nor least ancient, can be no otherwise described than as an old writer expresses it—
Rymes, running in a rattling row; which class, we are inclined to affiliate upon our Scandinavian ancestors. To rime a rat to death, is an English proverb, and, with Sir William Temple, we concur in thinking it a vestige of Scandie superstition, referring to the magical power* ascribed to the Gothic runes.
Proverbs are, to the vulgar, not merely a sort of metaphysical language, but a kind of substitute for philosophical principles. A man whose mind has been enlarged by education, and who has a complete mastery over the riches of his native language, expresses his ideas in his own words; and when he refers to any thing beyond the matter under his view, glances towards an abstract principle. A vulgar man, on the other hand, uses those proverbial forms which tradition and daily use have made familiar to him; and when he makes a remark which needs confirmation, he clenches it by a proverb. Thus both, though in a different way, illustrate the observation of Lord Bacon, that—" The nature of man doth extremelyE covet to have something fixed and immoveable, and as a Rest and support of the mind."
Cervantes, in painting the characters of Don Quixote and his sapient squire, the inimitable Sancho, has excellently well brought out the distinction to which we refer. The Don is a gentleman of education—a man of fine fancy and feeling, whose mind has been embued, not less with classical ideas than romantic notions, and who, on all subjects except that on which his madness turns, is the most refined, the most disinterested, generous, and rational of human beings. Sancho, on the other hand, is a personification of the vulgar mind: low, selfish, and cunning, and also so far mad
as to give credence to his master's wildest fancies, in as much as they seemed to chime in with his own hopes and wishes. On all occasions the Don ever expresses himself like a scholar and a gentleman, Sancho like one of the vulgar herd. The knight uses his own words to express his own ideas; but the vocabulary of the squire is the inexhaustible proverbs of his country. Before quitting this subject, we may refer to the admirable rules laid down by the knight for Sancho's guidance in the use of proverbs, before assuming the government of Barateria, as of general application. They relieve us from dogmatising upon that point, and they agree with the rules laid down by Aristotle in his Rhetoric with regard to epithets, namely, that in discourse they ought to be used as mere condiments, not as food.
Oar limits forbid us entering at greater length into any of the other valuable topics which are discussed in the preliminary essay by Mr. Motherwell. Suffice it to say, that it will be found a most valuable contribution to the literary history of Scotland.
Mr. Henderson, besides exhibiting much industry and ingenuity in the collection of Proverbs now before us, has enriched his work with some most characteristic etchings. The volume is beautifully printed, and well got up, and is, upon the whole, one that is highly creditable to all connected with its publication. We wish it every success, convinced as we are that it is the best collection of Scottish Proverbs that has ever been offered to the public, and one which ought to be in the library of every literateur and every Scotchman.
LONDON FASHIONS FOR MAY.
Hats and Bonnets.—Moire, crape, rice straw, and Pepe are the materials in favour for hats and bonnets. Both have the brims reduced almost to the smallest possible dimensions. Bonnets are still of the capote form, several of those composed of moire are lined with crape, and ornamented with a sprig of lilac placed onone side. Those of lilac moire lined with white crape, and ornamented with the sprig of white lilac are very pretty. Snow balls of a small size are also employed for trimming bonnets. The most elegant of the crape capotes are those of rose or straw colour, trimmed on one side with a knot of white gauze ribbon, edged with blond lace; the ends of the knot fall low upon the brim. Moraine bonnets are generally worn over a cap, trimmed with a blond niclte, much narrower than those worn in the winter. The most part of the half dress bonnets have the brides dressed with blond lace. Hats composed of pagne are always either grey, or the new colour called ecrw, they are lined with cherry colour, and rose of different shades, and are trimmed with gauze ribbon to correspond. A single flower of the colour of the ribbon, is inserted in a knot on one side, and drops from it upon the brim. Several new straw hats are of the capote form, the brims are short, and sit close to the ears. The basolet is of ribbond to correspond with the trimming. The brim is lined with coloured grapes, cherry is frequently employed. Gauze ribbons are frequently figured in colours.
New Materials.— Gros de Naples of different kinds, and gros d'ete are the materials in request fur pelisses; they are also in favour for morning dresses. Chaiy is fashionable in morning, dinner, and evening dress; there is a perfect rage for that material. Plain chahj particularly lilac and ccrue are extremely pretty for neglige'. Those that are flowered have the grounds either green, straw-colour, marsh mallows, or different shades of very light brown. The colours of the bouquets are extremely vivid, and very varied. There are also chahjs with broad stripes, one white, the other coloured, both shaded with small and delicate patterns. The new undress muslins are of white grounds, with small woodcoloured patterns, or brown or black grounds strewed with bow quets of roses or other flowers in vivid colours. We see also some covered with branches of foliage, intermingled.
Out-door Costume.—Pelisses are very much in favour, they are closed in front, and ornamented on each side with rouleaus in a very light and simple style. A good many are worn with pelerines of the same material; they are of a large size and with square ends. There is no alteration either in the shape or size of sleeves. Several high dresses are made with the corsages en guimpes, those that are of striped patterns have the material placed in such a manner as to form chevrons on the bust before and behind. Several of the new scarfs are of niousseline de laine, with very well covered patterns, upon amaranth, brown, or green grounds. The most elegent carriage scarfs are of white mousselme de Itwte, embroidered in coloured silk.
Morning Dkess—Gros de Naples, eachemiriene, and cAofy are the materials most in favour at this moment, but the printed Iuuslins above cited will probably be worn before the end of the month. Morning dresses are invariably made high, some are partially open, and draped across the bust, others plain. Almost all havs have a pelerim* of the same material. Some few are round, hut the greater number have long ends that cross before under the ceinture; they descend very low upon the shoulder, and there farm three or four points, which form a finish to the sleeve. Dresses of light materials have a double pelerine, and a square collar which falls over, and makes a third row: it is in this manner that the few printed muslins that have already appeared are made.
Hal?-d*ess. — Chahf of the new patterns, and Gros de Naples d. lignes are most fashionable. The redinyote form, very open in the bosom, is preferred; the dress must also be partially open in front, in order to show a richly embroidered muslin petticoat. The Jichu should be of clear cambric, small plaited, with a falling collar, trimmed with Valenciennes lace. The under dress should have the sleeves finished with narrow ruffles, also edged with narrow lace, they fall over the hand.
HEAD-DaEssEs In Half-drers.—Hats of the chapeau bibi form are very much in favour, they are of more, or crap*', and are trimmed with blond lace, gauze ribbons and flowers. The most fashionable of the latter are the mimosa, the flowers of the alve, and parias; the latter are most in request. Turbans are also in favour; they are frequently worn without any ornament. Caps of embroidered tulle, trimmed with gauze ribbons, arranged in a very novel manner, are also very fashionable.
Make And Materials or Evening Dress.—Moire continues, and is likely to continue fashionable during the summer, particularly that which has coloured lines upon a white ground; they are of a middling breadth, lilac and white, green and white, wood colour and white, and Mousseline Sylphidi, with moire patterns, is a light and very elegant material, which promises to become very fashionable. Evening dresses are ornamented with ribbons and flowers, w hich are more frequently disposed upon the front of the dress than round the border; we still, however, see some ornamented in the latter style. There is great variety in corsages, some are plain, others are in crossed drapery, and a good many arranged a la Se.eigne*, but all are cut low. Sleeves have not altered in their form or size, but are worn something longer.
Coirru Res In Evening Dress Head-dressy of hair are most
fashionable. The hair is parted, or disposed in bends upon the forehead, that is to say, either in soft braids or platted bands. If curls are worn they must be much lighter than those worn last year. Ribbons and flowers are the ornaments generally employed. Fashionable colours are icrue, wood colour, green, dust colour, various shades of grey, brown, rose, and some fancy colours.
The performances of the present week have been marked by a constellation of talents seldom witnessed in a provincial Theatre. Miss Jarman and Mr. Ternan of Edinburgh, Mr. Williams of the Haymarket and Weekes, have all lent their power to please, and contributed to enliven the scene. Of Miss Jarman we need not speak particularly. Her powers and reputation are too well known to require any encomium of ours. Her Rachel, in "The Rent Day," is another gem in her range of characters, and will transmit her name to posterity as one of our most feeling actresses. It is the most splendid piece of acting we have ever met with ; indeed it is too much both for the audience and herself; for we observed, that she entered so completely into the interest of the piece, that she was almost convulsed in themimicagony of the scene. Miss J. besides being the present elegant lady of the stage, is the most popular representative we have of fashionable comedy. Of Weekes need we speak particularly? His talent as a vocalist, and his successful personation of broad Irish comicality are, as they ought to be, highly appreciated.
Mr. Ternan is a young performer of very considerable talent. He knows his profession and understands, perfectly, what its requisites are. He also understands his author, and delivers his language according to its meaning, apart alike from the stiffness of a formal elocution, or the monotony of an unmusical ear and unmodulated voice. He is a sensible actor—forms a correct estimate of his character—is not destitute of power—and, possessing the ambition to excel, is likely to rise rapidly in his profession.
He opened in Shylock, which we, by no means, think his best effort. It wanted the years, and, with them, the features and malevolence of the Jew. It partook too much of ordinary life, was not sufficiently unique, and might, if separated from the dialogue and gabardine, have stood for Iago, Macbeth, or any of the same villainous genus. We have always viewed Shylock as a character particularly individual—surpassing every other in sordidness. Whether this arises from the peculiar acting of Kean in that character, we know not, but of this we are certain, that his is the only representation we have been accustomed to think natural. Ternan is no servile copyist; but we could discover not a few points which he seemed to have borrowed from the great prototype of the inhabitant of the Venetian Gfietto.
Ternan's Martin Heywood is a much greater performance—so is his Joseph Surface. In these he exhibits a more correct estimate of the character, some genuine feeling and a subdued taste. He does not, as some, exhaust his energies by an extravagance of effect, labouring to effect what cannot be effected, or to make something where nothing can be made—but, which is more natural, he singles out the principal features of his character, grapples with these, and holds them up prominently to his audience as the points which are to form the character.
His performance of Martin was, in fact, truly fearful. As we have seen it played before by Mr. Alexander, it conveyed too much the idea that the wretched Heywood was a passionate, vindictive and revengeful man; but with Mr. Ternan there is no such idea
conveyed. In him is perceived the honest and upright man driven to despair, by sudden and unaccountable misfortunes, and by the vile insinuations of a villain as to his wife's inconstancy. At the same time there was none of that rant, or loud vociferation, which too often is considered by actors to be requisite for bringing out the force and meaning of the author, but that calm, subdued, and fearful determination which in such situations are so appalling.
We cannot avoid noticing the part which Mr. Wallace sustained so very creditably: we can perceive seeds of genius in this young man, that if properly nurtured may yet yield him a goodly harvest. The Bullfrog of Lloyd is the best thing we have ever seen him in; indeed we do not think there is a man on the stage could do it more justice.
Mr. Williams, a native of our own city we believe, is also a clever performer—a man, we think, of decided genius. Every thing we have seen him in evinces this. His Symon is a perfect picture of the Scottish peasantry of the olden time. His QUI Dozy, his Mark Chase and Sir Peter Teazle., are the productions of a superior actor. We are astonished we have not seen and heard more of this gentleman before this time.
HOGG'S FIRST INTERVIEW WITH GALT.
"I first met with this most original and most careless writer at Greenock, in the summer of 1804-, as I and two friends were setting out on a tour through the Hebrides; so that Gait and I have been acquainted these twenty-eight years.
"That was a memorable evening for me, for it was the first time I ever knew that my name had been known beyond the precincts of my native wilds, and was not a little surprised at finding it so well known in a place called Greenock, at the distance of one hundred miles. I had by some chance heard the name of the town, and had formed an idea of its being a mouldy-looking village, on an ugly coast. How agreeably was I deceived, not only in the appearance of the town, but the metal which it contained.
"My two friends and I, purposing to remain there only a night, had no sooner arrived, than word had flown it seem* through the town that a strange poetical chap had arrired there, and a deputation was sent to us, inviting us to a supper at the Tontine Hotel. Of course we accepted; and, on going there, found no fewer than thirty gentlemen assembled to welcome us, and among the rest was Mr. Gait, then a tall thin young man, with something a little dandyish in his appearance. He was dressed in a frock-coat and new top-boots; and it being then the fashion to wear the shirt collars as high as the eyes, Gait wore his the whole of that night with the one side considerably above his ear, aud the other flapped over the collar of his frock-coat, down to his shoulder. He had another peculiarity, which appeared to me a singular instance of perversity. He walked with his spectacles on, and conversed with them on; but when he read he took them off. In short, from bis first appearance, one would scarcely have guessed him to be a man of genius."
LOVE'S FIRST QUARREL
Since Johnny's ta'en the gee?
Tae speak kind words tae me?
When wintry winds blaw Knell;
Waes me! I canna tell.
'Cause he behav'd unmeet,
Till I was like tae greet.
At last he took the huff—
If he kept his baird sae rough.
Wi' the warm tear in my ee,
Though his baird were tae his knee.
For her simplicitie,
Or kens what man should be."
And snirtled in his sleeve;
Tae hear its true love grieve.
He baith her een did steek;
Is press'd upon your cheek?"
Smiled sac forgiving-like,
To herrie the sweet byke.
WEST COUNTRY REMINISCENCES.
From the following advertisement and paragraph, which appeared in 1788, may be gathered the price of Hutcliese.ii Street ground at that period :—
TO BE SOLD BY PUBLIC ROUP, Within the Laigh Council Chamber of Glasgow, on Friday the 29th day of February, current, between the hours of one and three o'clock,
The large Garden, lying at the back of Hutchesons' Hospital, which is now laid off for Building Ground, through which a street of 50 feet wide is to run from the back of the Hospital to Ingram's Street.
For particulars, apply to John Campbell, Esq. pf Clathick, Preceptor of the Hospital, or to the Town Clerks of Glasgow, by whom a plan of the ground, and the articles and conditions of roup will be shewn.
February 18th, 1788.
Friday, the garden (advertised in our last for sale) which belonged to, and lies immediately behind, Hutchesons' Hospital, was sold for £2990 sterling, which is at the rate of 1 Is. per square yard!
A New Fashionable Monthly Magazine is announced by Mr. Harral, under the title of "La Cour des Dames, or Gazette of Fashion, Literature and the Fine Arts," with a series of Portraits.
"Cavendish and his Critics, or Whigs versus Tory," is preparing for immediate publication.
Mr. Babbage is on the eve of issuing a work on the Economy of Machinery and Manufactures: to comprise, in a small compass, the results of his observations as to the various mechanical processes, and the internal domestic economy of the great manufactories, and the political economy of manufactures; the whole rendered popular by a continual reference to practical illustrations.
An Historical Sketch of Sanscrit Literature, with a biographical account of manuscripts and printed books in that language, is announced.
ODDS AND ENDS. Scott's " Castle Dangerous."—We believe it has never been noticed by any of the numerous reviewers of the book, that Sir Walter Scott's last novel of41 Castle Dangerous" bears, in its main features, but especially in the early incidents, a very marked resemblance to the Ettrick Shepherd's extravagant romance of " The Three Perils of Man." In both tales the plot depends upon the romantic promise of an English knight to hold out a castle on the Scottish border against all assailants, for a certain space of time, in order to win the favour of his lady-love. In both, the lady proceeds in male attire to the neighbourhood of the castle, to watch the conduct of her chivalrous lover: in both, she falls into the hands of the enemy, (in both, by the way, the head of the house of Douglas,) and is made use of as a means to compel her faithful knight to surrender his trust. These resemblances are, we think, too striking not to be worthy of attention.—Literary Guardian.
NOTICES TO CORRESPONDENTS.
"An Authentic Memoir of Miss Jarman" in our next. Cupid's Register for April will also appear. 11 Scrutator's" request will be attended to. "M. M. M." is under consideration. "J. M'T." is good, but not very good.
The Church Annoyance which " The Golden Rule" complains of, must, we fear, be submitted to till an alteration in the fashion of ladies' head-dresses takes place.
The Story of "The Six Deacons Dancing for a New Wig," is too personal for our columns. We don't believe it is " founded on fact."
"The Address to the Cuckoo" is, like the note of that bird, rather monotonous.
•»* In presenting the first number of our Second Volume to the public, we beg leave, again, to return our thanks to those who have patronized an Original Glasgow Literary Publication, and to state to those who have not yet patronized our labours, but who may wish to have our Miscellany at their breakfast table on Saturday morning, that they will please leave their names and addresses at our publisher's, Mr. Finlay.
GLASGOW ROYAL INFIRMARY The DIRECTORS respectfully request of those Gentlemen who have kindly undertaken the charge of the ANNUAL SUBSCRIPTION PAPERS, that they will proceed, with all possible despatch, to finish the Collection in their respective Districts, as many Families will shortly leave town, and, consequently, the Funds of the Institution may suffer from farther delay. It is expected, that all the Subscription Papers be with Mr. LUMSDEN, the Treasurer, by the middle of May.
ON MONDAY, will be Published, Price 7s. 6d. by D4.VID ROBERTSON and the other BOOKSELLERS in Glasgow, HENDERSON'S COLLECTION OF SCOT TISH PROVERBS, with a PRELIMINARY DISSERTATION on Proverbs in general, by WILLIAM MOTHER. WELL, Esq.
The above collection of Scottish Proverbs is the most extensive that has yet been published, comprehending from four to five thousand, many of which have never appeared in any previous collection.
THE LITTLE GIRL'S OWN BOOK.
PUBLISHED THIS DAY,
BY RICHARD GRIFFIN CO. GLASGOW,
THE LITTLE GIRL'S OWN BOOK, by Mrs. Chub,
"This pretty little volume treats of all the innocent games which the young Miss may be supposed to take an interest in. It then goes on to ' Instruct]!* Games,'' Games of Memory,* ■ Forfeit,'' Active Exercises,' ■ Hints for making Baskets' and 1 ornaments' Then follow Puzzles, Riddles, Charades, Automats, Needlework, Bees, Silk-worms, and keeping Animals, Gardening, &c. In short, the volume is a perfect Cycloiittdia for a young Girl, the study of which will be found entertaining and useful to all those who may have the good fortune to peruse it"—The Day.
Printed for Thomas Tegg, London; Richard Griffin & Co. Glasgow; and sold by Stillies Brothers, Edinburgh; Liv/u Smith, Aberdeen; and all other Booksellers.
Of whom may be had, just published,
I. THE MOTHER'S BOOK. By Mrs. Child. Third edition, price 4s. bound, with gilt edges, Sfc.
II. THE CHILD'S OWN BOOK. Second edition, improved, with 300 cuts, price 7s. 6d.
III. STORIES FROM ROMAN HISTORY, Addkssu To A Little Bot. By Lady Sandford. Price 2s. fid. bouni
IV. SCENES IN SCOTLAND, 48 Engravings. Price 4s. 6d- boards.
NEW PUBLICATIONS AT REDUCED PRICES.
MESSRS. R. GRIFFIN & CO. beg to submit the foumrinf. List of Popular New Books, for Sale at the extreme low prices marked :—
I The NATIONAL LIBRARY, comprising Gait's Life
of Byron; Bishop Gleig's History of the Bible; James's History of Chivalry; Smith's Games and Festivals; Dr. Thomson's History of Chemistry; Bourrienne's Napoleon; St. John's Lives of Celebrated Travellers—each work embellished with fine Plates 13 vols. Published at £4, Is. for £2, 12s. Separately at k per volume, bound in cloth.
II VALPY'S CLASSICAL LIBRARY, comprising
Demosthenes; Sallust; Xenophon; Virgil; Herodotus; Ana creon and Pindar. 10 vols. Published at £2, 5s. for 27s. 6U Separate 3s. per vol.
Ill JUVENILE LIBRARY, comprising Historical M.
ecdotes; History of Africa; and Lives of Remarkable Youths. 3 vols. Plates Published at 12s. for 6s. 6d. Separate ii. U. per vol.
IV HUGHES'S DIVINES of the CHURCH of ENG.
LAND, comprising the Works of Barrow; Jeremy Taylor; Bishop Hall; Ogden; Powell and Fawcett. 22 vols, post 8vo. Published at £8, 5s. for £5. Any Work sold separately at is per volume.
V. —NEW YEAR'S GIFT, Edited by Alaric Watts, for 1829-30-31-32. 4 vols, fine Plates, half-bound Morocco. Published at £1, 12s. for 16s.
64, Hutcheson Street, Glasgow, May 4th, 1832.
OBERT FINLAY, CARVER, GILDER & PRINTSELLER to his MAJESTY, respectfully begs leaveto intimate to his Friends and the Public, that, at Whitstmdaf fir& he will Move from the Premises presently occupied by him in Miller Street, to that New and Splendid Shop, No. 49, BtcusNan Street; where the Business, in all its departments, as well as that of BOOKSELLING and STATIONERY, will iafcture be carried on under the Firm of R. and J. FINLAY. The Bookselling department will be conducted by J. F. who has just returned from London, after having had long experience there in one of the first Houses in the Trade.
R. F. takes this opportunity of returning thanks for the libera) share of Public Patronage which has been bestowed on him since he succeeded his late father; and trusts the Firm of R. and J. F. will merit its continuance, by a strict and steady attention to the Orders committed to their charge.
Glasgow, April, 1832.
LETTER PRESS PRINTING JOHN GRAHAM, Melville Place, begs leave to return his sincere thanks forth'' handsome encouragement he has hitherto enjoyed, and respeetfuilj solicits Employment in the Printing of BOOKS, PAMPHLETS, PARLIAMENTARY and LAW PAPERS. CIRCULARS, PRICES CURRENT, POSTING & HAND BILLS, &c.
Glasgow, 1st May, 1832.
PRINTED BY JOHN GRAHAM, MELVILLE PLACB.
A MORNING JOURNAL OF LITERATURE, FINE ARTS, FASHION, &c.
GLASGOW, SATURDAY, MAY 12, 1832.
MEMOIR OF MISS JARMAN.
It has been said that players are, above all others, the creatures of circumstances. It has been denied that their profession is a matter of choice with them. They are represented as being all such previous bankrupts in fortune and respectability, as to be forced to the stage as a relief from the penury and opprobrium under which they labour; or they are the descendants of the actors of other days, and, having been neglected in the im portant article of education, are contented to follow th e profession of their ancestors.
This ungenerous insinuation, obviously got up for the pu rpose of strengthening the hands of such as deprecate theatrical amusements, is too absurd and too malignant ever to succeed with reasonable minds. The stage Ls a profession fitted to impart pleasure to persons of a refined and liberal taste, and has its devotees and its patrons, like every other department of science and art. To such as are not yet persuaded of the purity of intention which, in the majority of cases, prompts to the stage, we recommend a perusal of the following sketch. We think it calculated to convince all whose minds are open to conviction, that it is more generally the influence of pure choice—choice, founded on the supremacy of natural -endowment, and terminating in acourseof systematic training—than of any insuperable necessity, that forms the actor—unless, indeed, it be the necessity of pursuing that track to which his mental constitution predisposes him. The youthful debutant, glowing in the heat of a poetical temperament, finds, on coming into contact with the acted drama, that he is admitted to a region replete with enjoyment; and, encouraged by the music of applause, even as the willing bark moves along before the breath of heaven, presses on in the laudable ambition to excel—sometimes alas! overtaken by misfortune, but never despondent; carrying about with him, through all the changes of his eventful history, the persuasion that he follows nature, and is already the recipient of much innocent and elevated pleasure.
The following is the memoir of a lady who stands, in public opinion, the acknowledged ornament alike of her sex and her profession. In it may be traced, from the earliest development of the acting capacity, to the matured perfection of the same, in the admiration of an applauding public, the history of one who loves the drama for its own sake, and who, we are confident, would not quit the field of so much positive enjoyment, though bribed to the desertion by fortune's proudest dignities, without "casting many a lingering look behind."
It was in the town of Hull, in the East Riding of York, that Frances Eleanor Jarman first opened her eye on the great stage of human life. Her earliest years were passed in that calm seclusion from care which infancy claims, but under the observation of friends who saw, in the occupations of her childhood, the dawn of much future promise. Her mother had held, for a term of years, a leading engagement at the theatres of Hull and York, and, long before the subject of our sketch had stepped out of girlhood, this engagement had been cancelled for one at the Theatre-Royal, Bath. It is to the period of this removal that our readers are to look for the entrance on that career of Vol. II.—No. 2.
popularity which she has since so successfully pursued. It was here that the reach of mind first freed itself from the restraints of childhood's partialities.
It does not appear, from all we can learn, that she evinced an early predilection for the stage, or indeed for any particular province in the business of life, although she seems to have manifested, at a very early age, the power of excelling in the histrionic art. Hers seems to have been rather the out-breaking of one general principle, that of mind, which, in the elasticity of youth, is allowed to expatiate at large, and exhaust itself in the wide field of general knowledge, than the special developement of any particular taste, that singles out its objects, and stands fixed to one given point. Her ambition seems not to have been so much to display talent as to acquire it, nor so much to excel others as to be herself informed—forshe is known to have been modest and retiring to a degree. A taste for books, as the means of supplying subjects of thought, was the leading feature of her childhood; and the amazing skill she displayed in selecting from the many with which she was furnished, such as were likely to repay the perusal, exhibits a precocity of judgment, apt, in this age of glare and imposition, to be overlooked by all but the sensible parents, who will rather have their children distinguished by their intellectual acquirements, than by those mimic feats which are too frequently regarded as the traits of early genius.
The following incident is referred to, by her friends, as the starting point of her public life, and as having lent a power to mould and direct her whole future history. While very young, and residing with her mother at Bath, she was one day discovered with Southey's poems. The passage she had selected was "Mary, the Maid of the Inn." She seemed wrapt up in the study of her own thoughts, and to be feasting, luxuriously, on the banquet this little subject afforded. Her mother, finding that she had already committed the poem to memory, requested that she would speak it; which she did, with a degree of feeling and precision, altogether beyond her years. The parent begged that she would submit to speak it in public. This was rather a startling proposal to one so young and diffident, but the promise that she would, was, at length, obtained—whereupon it was arranged that, on the evening of her mother's approaching benefit, she should make her appearance before the public in this her "first love." The result was most flattering to the youthful debutante. The unequivocal approbation bestowed on her opening effort by a brilliant audience— and every one knows what a brilliant audience at Bath is—encouraged her to proceed. The talented Mrs. Piozzi, who, in her taste for literature, did not overlook its handmaid the drama, had the felicity to be present on the occasion, and added the weight of her respectability as an authoress, in conferring dignity upon an incident which has proved the foundation of Miss Jarman's professional career. She waited on Mrs. Jarman with a copy of her own popular poem, entitled "The Three Warnings," requesting that her daughter might be permitted to study it. A solicitation so complimentary, both to parent and child, could not be resisted, and the success of her second attempt gave her an additional eclat as a juvenile reciter. She was now a decided favourite with the Bath public, and could number among her patrons some of the most influential circles in that gay population. She was hailed, both in public and private, as the prodigy of the day, and, as she had grown up among them, was received as one over whom they were bound to exercise a more than ordinary degree of protecting friendship. To such an extent did this feeling of attachment operate, that, when, a few years thereafter, her health had very much suffered in consequence of severe professional exertion, these same families came forward with a spontaneous offer of assistance for the purpose of obtaining for her the benefit of a coast or country residence, notwithstanding that they were aware such assistance was altogether unrequired. Their language, on the occasion was, that "it would confer an equal pride and pleasure in permitting them to administer to Miss Frances Jarman's personal comfort."
We are exceedingly pleased to find that Mrs. Jarman, in the exercise of a more than ordinary degree of good sense, refused to permit her daughter to become the mere fondling of a people's indulgence. She found higher objects on which to employ her, and instantly engaged her in that course of mental cultivation which she saw was requisite to give permanency to her daughter's reputation, and prevent her friends from being disappointed in the hopes of her coming years. Were all promising children as wisely treated, the profession would less frequently have occasion to lament the absence of matured talent in advanced life. The fame of our "juvenile prodigies" would thereby outlive their childhood; whereas, it is to be feared, the childhood of such too frequently outlives their fame. We cannot sufficiently reprobate the practice,now so common with parents and guardians, of forcing children out of their proper sphere as students in the great school of life, into the unnatural attitude of grown men. Our innate ideas, if we have any, come so miserably short of those acquired by observation and experience, that we cannot at all comprehend the doctrine which ascribes to an infant capacity the intellect of advanced years. Will any person prove to us that, in personating a patriot, a husband, a friend, or indeed any thing but a child, these "infant prodigies" have the smallest conception of the truth of the character, or that their performance ever rises higher than the routine of certain gesticulations into which they have been schooled by the diligence of a master? The entire exhibition may be likened unto that of a mechanical figure —the Roscius and the automaton being almost equally destitute of mind, and equally dependent on the moving impulse of another.
The sacrifice, made at the shrine of youthful indulgence, is most fatal to him that is the victim of it. It is the sacrifice of much precious time that might be turned to admirable advantage where there exists so apt a capacity of profiting by instruction. It is frequently the sacrifice of subsequent success. "He stumbles that runs fast." And it is the sacrifice of future peace; for he that is so unfortunate as to have his entire youth occupied in schemes of display will find that, in after life, he is doomed to endure years of deepest regret, when age and retirement seek their solace in vain from the mere recollection of his caressed childhood. The morning of existence, like that of the natural day, if occupied in engagements that have no immediate reference to the business of life, furnishes no brighter prospect to the survivor than that of one entire waste, extending as far as the eye can reach, whereas that which has been employed profitably, confers a heaven of peace upon the possessor—the prospect and retrospect, like light and shade, meeting and softening into each other.
Miss Jarman's youth was not so unprofitably passed. The discretion of a fond, but judicious parent, while it dimmed not the sunshine of early hopes, taught them to aspire beyond the mere frivolities of childhood. To this circumstance is it attributable, in addition to the attraction of her own talents, that her celebrity has
extended beyond the period of infancy, and that it continues still to spread unconfined. Her first dramatic attempt was made in the part of Edward, in the comedy of " Every One Has his Faith," to which she soon added the Duke of York and Prince Edward of "Richard the Third" and MyrtiUo in "The Broken Sword." During the period in which she sustained this juvenile range, her mother was not neglectful of those secondary accomplishments which were necessary to give effect to the higher range of stage business. A knowledge of posture, dancing and music, and an acquaintance with history and polite literature, were felt to be incumbent, and were liberally supplied. When she had attained the age of fifteen, she was in possession of all those parts which lay within the range of the "youthful heroines," and now reached that period of life proper for attempting the more dignified class of female characters. At this time, the infirm state of health to which we have already alluded, compelled her to quit the scene of occupation, and repair to the coast of Sussex for the benefit of the sea air. Here, after several months of severe attention to medical regimen, she became so far recovered as to be able to resume her professional duties at Bath. She was, shortly after this, employed to lead the business, and, after a most gratifying season of success, took farewell of her Bath friends in a poetical address which had been written for the occasion.
Previous to the conclusion of the season, she had, with the view of extending her professional experience, and of obtaining such a change of scene as might aid in still further improving her yet unconfirmed state of health, written to the Manager of the Theatre Royal, Dublin, stating, that as she had a desire to visit Ireland, she would be ready to treat with him regarding an engagement at his theatre. In answer to which, she received the immediate offer of the situation of leading actress for the ensuing season. At this period, Mrs. Jarman thought it expedient to decline all farther personal connection with the stage, preferring an exclusive attention to the interests of her daughter.
Miss Jarman opened in Dublin in October, 1824, in her favourite character of Letitia Hardy, which she sustained with such decided success as to secure a renewal of her engagement for the following season. During her stay in Ireland, she occupied the various intervals of the Dublin recess in occasional trips to the provinces, making repeated visits to Belfast, Derry, Cork, Sligo, &c. in all of which it was her happiness "to purchase golden opinions from all sorts of people." In the beginning of 1827, after a most successful run of two entire years upon the hospitality and enthusiasm of the Irish character, she returned to Bath, a spot endeared to her by every recollection that could sweeten existence, and claiming to be almost considered as her "native home," so early had she been embosomed in its affections, and so tenderly did her heart still point to this birth-place of her public life. She now felt fortified in the requisites of her profession, and somewhat disposed to storm the very fortress of metropolitan distinction.
During her residence at Bath in 1824, she had been waited on by Mr. Faucett, the acting manager of Covent Garden, who had come down for the express purpose of ascertaining the extent of her capacity. He had attended during her performance of several popular characters, and was so highly gratified, that he tendered her, on the instant, the offer of a principal situation at the London House. This, it was then thought proper to decline, both on account of her youth and delicate state of health; but the same offer being again presented by Mr. C. Kemble in 1827, was accepted, she being now considered more qualified to grapple with the laborious duties of a London engagement. The treaty being concluded, Miss Jarman, proud of the distinction to which her industry had now raised her, prepared to take her departure for the Metropolis. It must have been a gratifying spectacle