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Marcus Ward and Co. under the title At Home. The publishers are employing the best artistic talent of their staff to faithfully reproduce in colours the pleasing fancies of children and homely surroundings placed in their hands. The poetical portions of the volume will be contributed by several well-known writers of children's poetry.

WE hear that Major A. Palma di Cesnola is making good progress with the book in which he will describe at length his recent excavations in Cyprus. It will be entitled Salaminia, for a large proportion of the objects described were found on the site of the ancient Salamis; and it is intended to render the same service to philologists and students of archaeology that his Album of Cyprus Antiquities (Holmes and Son) rendered to lovers of ancient art. An important chapter of the book will be devoted to the inscriptions, for the elucidation of which Major di Cesnola acknowledges much valuable aid from Dr. Birch, Prof. A. H. Sayce, and Mr. Hyde Clarke.

THE lectures on Greek and Roman sculpture given last winter by Mr. Hodder M. Westropp in the rooms of the Archaeological Society, Rome, are now being printed for publication at the Gould Memorial Printing Establishment at Rome. As we were compelled in a recent issue of the ACADEMY to speak rather severely of the first numbers of the periodical entitled English Etchings, published by Mr. Reeves, of Fleet Street, we feel bound to notice the great improvement manifested in the number for September. Ribbesford Church, by Mr. S. H. Baker, and The Sacristy Door, by Mr. A. W. Bayes, deserve hearty praise; and The Lonely Pool, by Mr. Geo. Stevenson, stands in no need of it. Such masterly and beautiful work may be trusted to find its own way to public appreciation.

WE learn from the Euskal Erria that Señor Zuloaga, the designer and architect of the mausoleum of Marshal Prim, has just finished at Eibar, in Guipuzcoa, a jar, two varas in height, of inlaid steel and gold and silver arabesque work, including an Arabic inscription. The motive of these vases is taken from the celebrated Alhambra vase. The present one has employed fourteen workmen for the space of a year, and is valued at 4,000 dollars, the price which the Emperor of Austria paid for a

similar one.

A MOVEMENT has been started in Guernsey, and a small sum already collected, for the purpose of erecting a statue or some kind of monument to Victor Hugo in that island. It will be remembered that it was during his exile in Guernsey that the poet wrote his Travailleurs de la Mer.

AN exhibition of ancient Spanish and Portuguese art, as we have already stated, is being organised at Lisbon, to be held in that city in November 1882. No doubt our exhibition of Iberian art at South Kensington has given an impulse to the national sentiment, and we cannot doubt that rarer treasures will be forthcoming for this home exhibition than for a foreign one. The King of Portugal has been named president of the organising committee, and every means is being taken to secure an interesting collection. The exhibition will not only comprehend native works of monumental or decorative art from the earliest times to the end of the eighteenth century, but will likewise admit works by foreign masters that have been in Spain before the beginning of the present

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ings and sketches in oil of the historical painter Ludwig Vogel. The collection embraces about 100 specimens.

A LESSING-DENKMAL by the sculptor Schaper was uncovered at Hamburg on September 8.

AFTER two or three somewhat dull numbers, the Portfolio again has all its wonted interest this month. Its chief feature is the first of a series of four articles by the editor on the "Elements of Beauty in Ships and Boats." Mr. Hamerton divides his subject under four heads-viz., hulls, spars, sails, and excrescences. We presume, of course, that rigging must be included under one of these heads, for surely one of the principal elements of beauty in a masted vessel is the graceful and complicated lines of its rigging. Prof. Colvin also begins in this number a study of "The Amazons in Greek Art." The myth of the Amazons had a strong hold on the Greek imagination, and its romantic character made it a favourite subject of art. Prof. Colvin does not enter into discussion as to the historical origin of the myth, but regards it as having, in all probability, arisen, not out of the phenomena of nature, like most of the Greek fables, but from observation of some primitive community in which women held the ascendency. An etching by Léon Lhermitte, called "An Episcopal Visit," expresses a restful feeling of devotion under pleasant influences of light and shade; while Prof. Legros touches a chord of the "still sad music of humanity" in one of his severely simple etchings.

THE STAGE.

WHAT has been reckoned by common consent about the dullest of dull seasons within recent experience draws to its close. Its monotony was at all events broken last Saturday night by the production of Mr. Sims's new play at the Princess's Theatre. It is perhaps only to habitual playgoers that the name of Mr. Sims is known; the fame of Byron, Burnand, and Gilbert has not yet attended him; but we owe to him the humour of The Member for Slocum, and, like Mr. Pinero, he is to be recognised as one of the most important of our rising dramatists. From the title, The Lights o' London-which is the name of the new piece in Oxford Street-it would seem that Mr. Sims had not on this occasion used his stage skill with genuine literary ambition. The Lights o' London sounds like a melodrama, and indeed melodramatic incident is not by any means absent from it; but a true account of it would have to say that it is at the same time a real study from the outcast life of the metropolis, and that the study is made at once with In the new sympathy and with humour. piece les misérables of London are paraded on the boards. The hero of the piece is, it is true, a gentleman, and the heroine a gentlewoman in everything but the accident of birth; but, of the remaining characters, most are either Irish policemen, the hangers-on at police-courts, the humblest of strolling players, and the yet more impecunious citizens who sleep in the parks or by the side of the Regent's Canal. A study is made of these people, not only by the dramatist, but by his interpreters-notably by Mr. G. Barrett, Mr. Coote, and Mrs. Stephens. The disinherited hero is represented vigorously by Mr. Wilson Barrett; and, as the sympathetic wife with whom he has contracted what can only conventionally be spoken of as a mésalliance, Miss Eastlake confirms to the full the strong impression made upon the public by her performance in The Old Love and the New. This admirable artist, whose success we have confidently prophesied from the day of her first perform

ance in London, must now surely be accepted as by far the most distinct acquisition the London stage has received in the matter haps it is no exaggeration to say, since of young heroines during recent years-perthe first appearance of "Madge Robertson." Miss Eastlake's performance in The Lights o' London is marked by her usual qualities of grace, simplicity, and pathos, and by further control of the resources of her art. For those whom the art of acting interests the least, there is provided in the new piece the attraction of a telling story carefully followed. And, besides this, the scenery is very remarkable. It is not only varied and realistic, but genuinely illus trative of the drama. That is, it is in its proper place.

THE Cloches de Corneville, which is perhaps the only, and certainly the most tolerable, combination of melodrama and opera bouffe, has been revived at the Globe Theatre. The part of Gaspard, the miser, played so well in the country by Mr. Joseph Eldred, is here performed by its original interpreter, Mr. Shiel Barry, who is as impressive as ever-perhaps, indeed, a trifle too impressive. Serpolette is the part at Brighton last winter. Nobody plays now played by Miss Verona, whom we saw in it better.

THE Park Theatre, which was wholly destroyed by fire a few nights since, has, like the Holborn, which was the last London theatre that was burned down, absolutely no history of importance. Indeed, the Park had not even such a chronicle as that which was afforded to the Holborn by the success, at all events, of Flying Scud. The Park-though well-sized and not uncomely-was uninterruptedly obscure. It was probably thought of it, to begin with, that it be for the Northwestern suburbs what the Court Theatre at Chelsea has been for the South-western; but the ambition, if it was entertained, was never

realised.

HALF of the most attractive actors of London

are at present in the provinces. Mr. Irving and Miss Ellen Terry and the whole Lyceum company began their tour last week, with performances of extraordinary success in the Grand Theatre at Leeds. Mr. Toole, accompanied by the better part of his troupe, is at Edinburgh. The Scottish capital is deeply plunged in the study of aestheticism as it is revealed at the theatre. Patience has come and gone, having made a great sensation in Edinburgh. Colonel is coming. Yet neither is likely to be thoroughly understood in a city from which the sage green and girdle school is conspicuously and curiously absent.

MUSIC.

The

Dictionary of Music and Musicians. Edited by George Grove, D.C.L. Part XIV. (Macmillan.)

We are told

THE most important article in this part is on Rossini, by M. G. Chouquet, Keeper of the Museum of the Conservatoire at Paris. It contains a most interesting account of his life and works; and the writer describes, with calm and steady impartiality, the part played by the "swan of Pesaro " in the music of the nineteenth century. A list (as complete as possible) of his works is given. that, before Rossini had reached the age of twenty, he had learned the secrets of orchestration by copying out in score the symphonies of Haydn and Mozart. It is curious that we find Wagner, about twenty years later, gaining practical knowledge in a similar manner. "I am doubtful," writes H. Dorn, in 1832, "whether there ever was a young musician

1 I

SEPT. 17, 1881. No. 489.]

more familiar with the works of Beethoven than TRÜBNER & CO.'S LIST.
Wagner at eighteen. He possessed most of the
master's overtures and large instrumental pieces

JAMES A. GARFIELD,

in copies made by himself." We quote the THE LIFE and PUBLIC SERVICES of
amusing and sarcastic remark of Berlioz on the
three well-known choruses of Rossini for
women's voices, La Foi, L'Espérance, and La
Charité-"His Hope has deceived ours; his
Faith will never remove mountains; his Charity EDUCATION: Scientific and Technical;
will never ruin him."

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THE AUTOBIOGRAPHY of

Mrs. Edmond Wodehouse has contributed an interesting article on the word "Romantic; and her task was no easy one, for, as she truly observes, neither the term Romantic nor its antithesis, Classical, is susceptible of very precise definition, and no clear line divides the one from the other. Haydn, Mozart, and Beethoven were once considered romantic; they stamped in every line with the impress of unmistakeable bare truth, and the

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The story was well worth telling; and it is admirably told, with much
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nating."-St. James's Gazette.

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The book is full of interest."-Pall Mall Gazette.

AN ESSAY on the PHILOSOPHY
of SELF-CONSCIOUSNESS.
Comprising an Analysis of Reason and the Rationale of Love. By P. F.
[In preparation.
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lished, it already ranks as a classic, in the philoropinical literature of PREHISTORIC TIMES, as Illustrated by Germany. We should be doing an injustice to Mr. Thomas, the translator

are now the classical composers par excellence.
The writer gives some extracts from Beethoven;
but, despite much clever and subtle argument, within the last very few years.
the romantic element seems, by the very act of
The
explanation, to vanish out of sight.
followers of Wagner will not be satisfied in
finding Berlioz and Liszt classed together, for
Wagner, in one of his pamphlets, has tried
to show how Liszt's conception of a poetical
object differs fundamentally from that of Berlioz.
The translation of the libretto of Freischütz into A HISTORY of MATERIALISM.
French is mentioned as being by Pacini and
Berlioz. The latter, however, only added recita-
tives, and the translation was made by the former.
M. E. Roche, a French writer, is noticed as the
translator of the libretto of Tannhäuser into
French, but it is stated that Lajarte (Bibl. Mus.
de l'Opéra) gives Nintter as the author of the THE OCCULT WORLD:
French words. The following is the reason of
this change of names. MM. Roche and Lindau
were originally engaged by Wagner in 1859 to
When
translate the libretto of Tannhäuser.
finished, it was sent to M. A. Royer, the Director
It was not returned
of the Opéra, but refused.
to the above-named writers, but handed over
to M. Nintter to correct, improve, and to
Accord-
change the blank into rhymed verse.
ing to M. Emile Olivier, who defended Wagner
in a law-suit in 1861 about this very translation, THE ESSENCE of CHRISTIANITY.
M. Nintter spent several months in altering and
improving, and but very little of the original
version remained-how little may be gathered

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près le tiers de l'ouvrage, six ou sept vers seule-
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would mention those on
Saens," and "Scherzo." In the last mentioned
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quintett. Mozart, however, has two trios in
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LITERATURE.

Evenings with the Skeptics; or, Free Discussion on Free Thinkers. By the Rev. John Owen. In 2 vols. (Longmans.) ALTHOUGH perfectly defensible from his own point of view, Mr. Owen's title-page is not unlikely to occasion misconceptions respecting the nature of his work. His "skeptics" are not always philosophical sceptics in the sense of deniers, or even doubters, of the possibility of attaining any standard of certainty. Nor are his "free-thinkers" theological freethinkers, for they include Augustine and the School-men. It would, in fact, be difficult to devise a title capable of defining the entire drift of a book so rich in suggestion of all kinds, the purpose of which may perhaps be best expressed as the illustration and confirmation, from the history of speculative thought in all ages, of a proposition thus laid down by the one among Mr. Owen's dramatis personae who seems most nearly to represent his own conclusions:

"The primary instinct of all normally constituted minds is towards liberty, and this instinct is more marked in direct proportion to the richness and variety of intellectual endowment. Whence I should draw the inference that free thought on all subjects is the natural legitimate

condition of the human reason.

Or perhaps the qualification for enrolment in Mr. Owen's noble army of free-thinkers would be the disposition, while agreeing with Locke, as cited upon his title-page, that "to love Truth for Truth's sake is the principal part of human perfection in this world," to hold with Lessing that the search for her is more valuable than the attainment. This definition will perhaps hardly include the Greek philosophers of the extreme sceptical schools, whose despair of attaining truth must have involuntarily led them to underrate truth as a thing obviously not indispensable. Nor will it comprehend Augustine, except in the days when, as Mr. Owen says, he was sowing his theological wild oats. But, in the main, Mr. Owen's work may be accepted as a natural history of this habit of mind."

Mr. Owen's machinery is artless and by no means novel, yet not ill adapted to its end. It has apparently been his object to relieve the inevitable ponderousness of a formal history of speculation by breaking this up into a series of essays, further lightened by the interspersion of discussion in the form of dialogue. This requires the creation of a number of dramatis personae, who would be unexceptionable if only they were dramatic. Trevor, the retired physician, composes and reads the essays which form the staple of the

work. He is described by a friendly opponent as "an extreme philosophical Nonconformist," but characterises himself as one who has passed through life opposing an instinctive resistance to dogmatic negation as well as to dogmatic affirmation, and who has succeeded in attaining to a certain amount of that ataraxia, or philosophic calm, which I conceive to be the final goal, not only of Skepticism, but of the exercise of every intellectual energy." He is confronted by "Harrington, the academic, or searcher, who hopes to find truth, at least approximately;" and Arundel, the dogmatic, who claims to have found it already. A lady, Miss Leycester, is very judiciously added to keep the philosophers in order. Trevor, on suitable occasions, produces sundry papers from his pocket; these are read to the company, and discussion ensues. It may be guessed from this account that Mr. Owen's forte is not the dramatic. However it may be with the scheme of things in general, the existence of these personages is clearly subjective. There is nothing of that distinctness of individuality which shows that the writers of Friends in Council and Thorndale saw their personages themselves before showing them to us. At the same time, however imperfectly executed, the plan is well adapted to relieve the stiffness of a long disquisition, and to enable the author to introduce the various qualifications and limitations to which his impartiality and comprehensiveness incline him with the least apparent inconsistency.

in view the distinction between absolute and relative truth. Mr. Owen has many interesting remarks on the manner in which philosophers thus adapted their creed to the exigencies of society, as well as on the efforts of the New Academy to establish a compromise between Scepticism and Idealism.

While Greek philosophers had been speculating, the Eastern mind had not been inactive. The transition from Hellenic to Oriental thought is prettily and appropriately compared by one of Mr. Owen's interlocutors to the transition from the open Wiltshire down to the chancel of Mr. Arundel's church, with its dim religious light. Yet Oriental speculation was, in a sense, the more practical; it had more connexion with the problems of Providence and the regulation of conduct. In India it produced a religion, while in Greece it stopped short at philosophy. In Palestine it took the form of a protest against the most cherished dogma of the established religion, which, curiously enough, obtained an entrance into the sacred books of the latter. Although the books of Job and Ecclesiastes professedly terminate with acquiescence, the spirit of both is unquestionably sceptical in the theological sense. Job shows that Providence may be arraigned and called upon to justify itself; and the writer of Ecclesiastes sees little but folly and failure in the general scheme. A similar despair gave rise in India about the same time to Buddhism, which undoubtedly came forth from the sceptical schools of Hindu philosophy. Nothing, indeed, can be more. precise and dogmatic than the ultimate affirmations of Buddha; but these are built on the assumption of the unreality and tranIt is another siency of everything else. instance of scepticism, carried to an extreme, becoming dogmatism, liable to pass back again into scepticism in that incessant flux and reflux of opinion which Mr. Owen enjoys, but which some of his readers will find disquieting and appalling.

A genial comprehensiveness seems, indeed, the most characteristic feature of Mr. Owen's mind, and the liberality with which he has interpreted scepticism itself is extended to nearly all his individual sceptics. This is particularly apparent in the highly interesting sketch of primitive Greek philosophy. Xenophanes, Democritus, Heraclitus, are treated with the deepest sympathy, and the general tenor of their teaching is made clear. Their cultivation of physical The second volume, "Christian Skepticism," science is, of course, an impediment to their does not carry the subject further than about being regarded as sceptics in the strict sense the time of the Reformation, and is principally of the term. In claiming their great suc- occupied with the discussion of two remarkcessor, Socrates, as an absolute sceptic, Mr. able persons, Augustine and William of OckOwen allows that he is at variance with ham. Although these eminent men are concurrent opinion. The main question at issue spicuous figures in the history of opinion, is whether the nescience systematically pro- they are not conspicuous in the history of fessed by him was sincere or ironical. Mr. scepticism, and hence the space here devoted Owen thinks the former, but admits that to them appears excessive. It may be doubted Socrates by no means regarded his own whether Augustine would have appeared here nescience as the inevitable lot of humanity. at all if he had not been a pet antipathy of This further step was taken by the school of the author's, who is evidently thankful for Pyrrho, which, whether Socrates himself was an opportunity of relieving his mind respecta sceptic or not, was undoubtedly affiliated ing him. His judgment may be considered, to him. Mr. Owen points out that all the with reason, too severe. Augustine has, opinions usually considered distinctive of nevertheless, been the object of so much Pyrrho had been previously asserted by some indiscriminating and unreal eulogy that other thinker. The point at which he and any symptom of a reaction is welcome. his school became original was their translat- It seems unaccountable that he should ing "the personal experience of the individual" be so extolled by the same persons who into "an indisputable law of the universe," vituperate Calvin, and in their hearts agree thus experiencing an unconscious metamor- with Pelagius, except upon the theory phosis into Dogmatists. Sextus," says Mr. that to speak handsomely of a Father is Owen, "is perpetually guilty of pushing his tacitly regarded as a "note" of ecclesiastical position of Suspense into dogmatic Negation." gentility, which prevents a man from being In the main, however, Sextus appears to have taken for a Dissenter. It is also true that been tolerably consistent, and to have been few who talk of him have really read much fairly successful in reconciling his scepticism of him except his fascinating Confessions, or with the demands of practical life, by keeping are aware of the absurdity of his philosophy

66

of history, or of the infatuated complacency with which he plans out the "City of God" at the threshold of the Dark Ages. All these things may be fitly brought forward in their place, but it must be owned that a History of philosophical scepticism is hardly the place for them, or for the greater part of Mr. Owen's criticism. The Nominalist schoolmen of the Middle Ages are more suitable subjects; and the thoroughness of Trevor's examination need not so much fatigue the reader, who can take it up and lay it down, as it must have fatigued his ideal audience. Cornelius Agrippa, who follows, has a fair claim to a place here on the strength of his His complaint of the vanity of science. addiction to magic, also, Mr. Owen thinks, was but a feeling after a more fruitful method of research, arising from scepticism of the value of the old.

We are glad to learn that the work is to be continued; and that the next figure in Mr. Owen's gallery will be Giordano Bruno, who, by his practical application of the Copernican system to philosophy and theology, introduced a positive principle of momentous importance, but who may be allowed to rank among sceptics as regards his hostility to the philosophy of Aristotle. At this rate, Bacon, too, must have a place, and Locke for what we know. Mr. Owen manifests as much ingenuity in including his favourite philosophers under a general count of scepticism as De Quincey did in manoeuvring his own favourites into his essay on Murder considered as One of the Fine Arts. Mr. Owen's treatment of his subject is so genial, and his general tone so creditable to him as an independent thinker, as to dispose us to opine that the more philosophers he can comprehend the better. Nor should we complain if, like Lucian's fisherman, he caught them all. If only Lucian, or Plato, or Schelling could have imparted to him the dramatic faculty which the structure of his work demands, he would have produced a thoroughly charming book. R. GARNETT.

The Agamemnon, Libation-Bearers, and Furies of Aeschylus. Translated into English Verse. By E. D. A. Morshead, Assistant-Master at Winchester College. (C. Kegan Paul & Co.)

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use of bad, doubtful, or affected English words, such as "fenceless" for undefended, "aweless" for unalarmed, "seeress for prophetess, "wardress" for female warder, "unknowing" for not knowing, "abidingly" for continuously.

(2) An affectation of clearness, which has led him to print whole passages in italics which would be far more perspicuous in their original indirect form. Eum. 57-59:—

τὸ φῦλον οὐκ ὄπωπα τῆσδ ̓ ὁμίλίας
οὐδ ̓ ἥτις αἷα τοῦτ ̓ ἐπεύχεται γένος
τρέφουσ ̓ ἀνατὶ μὴ μεταστένειν πόνον

I wot not of the tribe wherefrom can come
So fell a legion, nor what spot of earth
Can rear, unharmed, such creatures, nor avow
Behold, I travailed, and have brought forth death.
Choeph. 312:-

ἀντὶ δὲ πληγῆς φονίας φονίαν

πληγὴν τινέτω. δράσαντι παθεῖν
τριγέρων μῦθος τάδε φωνεί.

Who in blood hath dipped the steel Deep in blood her meed shall feel! List an immemorial wordWhosoe'er shall take the swordShall perish by the sword; where the introduction of a Biblical association is in the strictest sense uncalled for. (3) Recondite and forced turns, by which what is simple becomes obscure, what is dark becomes darker, harsh metaphor becomes stilted exaggeration. Choeph. 171 :

πῶς οὖν παλαιὰ παρὰ νεωτέρας μάθω ; Let me learn this of thee; let youth prompt age. Agam. 1137:

τὸ γὰρ ἐμὸν θροῶ πάθος ἐπεγχέασα Ah, well-a-day! the cup of agony, Whereof I chaunt, foams with a draught for me. 1188:

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καὶ μὴν πεπωκώς γι ἁμαρτίας δόμων Yea, and they drink, for more enhardened joy, Man's blood for wine, and revel in the halls, Departing never, Furies of the home; They sit within, they chant the primal curse, And each flings forth the venom of her scorn On that old crime.

He wronged his brother's wife, The couch defiled was the defiler's doom. What trace is there of "flinging forth the venom of scorn" in the simple word TérTVσav? What possible advantage is gained by putting into the lips of the Furies words which the poet never imagined?

Why, again, should the "loathsome burden piteous " of the children's "own rent flesh" be described as "blasting the sight"? The Greek is straightforward enough-pérovo XOTES; what is there here of blasting ?

style. Choeph. 345: ei yàp in' 'Iλí :— We quote a fair specimen of Mr. Morshead's style. Ἰλίῳ

THIS translation is very unequal. As a whole,
it has the merit of being tolerably faithful; and
it is careful throughout. Probably no single
passage in it has been left unrevised. The
author, too, is a diligent student of English,
especially modern English, poets, and has
impressed their mark on his version. There
are some readers to whom this will be accept-
able. But there are others to whom the one
thing wanted in a translation of Aeschylus is
an approach-for this is all that is possible-
to the inspiration of the original. Such
readers will scarcely find in Mr. Mor-
shead what they require. Perhaps it is
only to few that the power is given of
making a real transfusion of anything at And
once so fine and so hopelessly difficult. Yet
there are in our language experiments much
nearer to success than this; witness, for
instance, the Medea of Mrs. Augusta Webster.
Mr. Morshead's chief faults are―(1) the

"Ah, my father! hadst thou lain
Under Ilion's wall,

By some Lycian spearman alain,
Thou hadst left in this thine hall
Honour; thou hadst wrought for us
Fame and life most glorious.
Over seas if thou hadst died,
Heavily had stood thy tomb,
Heaped on high; but, quenched in pride,
Grief were light unto thy home."

the following of his blank verse, Choeph.

694.
"A Daulian man am I from Phocis bound;
And as with mine own travel scrip self-laden
I passed toward Argos, where but now I loosed
My foot, there countered me upon my path
One whom I knew not, and who knew not me,

But asked my purposed way nor hid his own,
And, as we talked together, told his name-
Strophius of Phocis; then he said, 'Good sir,
Since, in all case, thou art to Argos bound,
Forget not this my message, heed it well,
Tell to his own, Orestes is no more.'"
R. ELLIS.

Thomas Carlyle. By Moncure D. Conway. (Chatto & Windus.)

THIS attractive and pleasant book will do much to remove the unpleasant flavour left on the mental palate of the reading public by Mr. Carlyle's own painful Reminiscences. Mr. Conway, as a friend of the living editor as well as of the dead author of those two melancholy volumes, is necessarily somewhat reticent concerning them; but that his opinion coincides with that of the world in general, and Carlyle's friends in particular, may be gathered from the concluding sentences of the Preface, which, like the chapters which follow it, is characterised by fine feeling and perfect good taste. Mr. Conway says:—

I have written out my notes and my memories with the man still vividly before me, and, as it were, still speaking; and, I must venture to add, it is a man I can by no means identify with any image that can be built up out of his lyle, but cannot admit that the outcries of a broken heart should be accepted as the man's true voice, or that measurements of men and memories, as seen through burning tears, should be recorded as characteristic of his heart or judgment. This sketch of mine is written and published in loyalty to the memory of those two at Chelsea whom, amid whatever differences of opinion, I honoured and loved."

Reminiscences. I do not wish to idealise Car

Mr. Conway has not added to the number of formal biographies of which-seeing that Mr. Froude's magnum opus is still ahead of us-we have enough and to spare, but has simply given his own personal recollections of the great writer with whom for nearly twenty years he lived on terms of the most intimate friendship-sharing his daily walks, and sitting often with him and Mrs. Carlyle in the evenbook could not fail to be full of interesting ings when the day's task was done. Such a material; and Mr. Conway, without any those violations of privacy which have unfor tunately become far too common not only has made the most of his many opportunities. in our journalism, but in our literature, That the book is desultory goes without saying; but such unity as was attainable is preserved, and we pass from page to page without any unpleasant sense of being pulled up suddenly and shunted on to a new line of thought or event.

of

Mr. Conway begins with a sketch of the room at the top of the house in Chelsea which Carlyle had fitted up as the birthchamber of his History of Friedrich 11, into which "only that paper, book, or picture was admitted which was in some way connected with the subject in hand"-a very characteristic "study of an interior," indicat ing as it does the thoroughness which Carlyle always took care to practise himself as well

as

to preach to others. Then there is a description of Carlyle's conversation, a little more rhetorical than it need have been (indeed, a too abounding and facile rhetoric is the one defect of the book), but still very

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