tion. The origin of fountains and springs is explained by the hypothesis of evaporation and condensation, first adopted, we believe, by Dr. Halley. Upon the whole, perhaps, this hypothesis is capable of a more general application than any other, yet not sufficiently, in our opinion, to account for all the variations of the phenomena: such, for instance, as those perennial springs which vary not with the fluctuations of the season, and have no apparent dependence on the quantity of rain that falls. Of air-balloons, an interesting, though very brief, history is given it is, besides, too partial. We are rather surprised that neither Haüy, nor his translator, thought it worth while to notice the experiments and voyages of the more recent aëronauts. The whole chapter on Sounds, both in the text and in the notes, we consider as particularly ex

cellent.

The concluding subject of the first volume, is Electricity; a part of the work which is, in our opinion, by far the least satisfactory. The author seems considerably more anxious to establish his theory, than to exhibit an enlarged and comprehensive view of electrical phenomena. The theory he prefers is that of two distinct fluids, founded first upon the recognition of two different electricities, by Dufay, and afterwards resorted to by Symmer, but never before applied, that we remember, to such an extent, with so much adroitness.

The second volume commences with Galvanism, or, according to our author's distribution, Galvanic Electricity. After giving a spirited account of the origin and early progress of this science, the author introduces the history and description of the Voltaic pile; we then find an account of electric fishes, which might have been rendered more complete by referring to the first of Sir John Pringle's "Six Discourses, delivered to the Royal Society," on the Assignment of Copley's medal to Mr. Walsh, in 1774; and lastly, the chemical effects of Galvanism are noticed. An ingenious method, invented by Alliseau, of constructing the pile so as to retain its efficacy several weeks, is described; but we were somewhat disappointed at finding, that not a word is said by our author about Mr. Cruickshank's Galvanic trough, and scarcely more than three lines, by the translator. We regret that Mr. G. has not availed himself, to a greater extent, of the recent discoveries connected with this interesting topic; the most valuable, perhaps, and that which opens the widest field to speculation and experiment, has been made since the publication of this work; we refer to the conversion of potash into a metallic substance by Mr. Davy.

The next subject is Magnetism; and here we find the general principles of its theory, magnetic attractions and re

pulsions; communication of magnetism, the magnetism of the terrestrial globe, and that of iron mines. Here also, as in electricity, the theory of two fluids is resorted to, and applied with no small dexterity to the solution of magnetical phenomena. That fluid which the northerly end of the needle solicits, is called the austral fluid, and that which resides in the part situated toward the south, is termed the boreal fluid.

The last, the longest, and the most important article in the whole work, comprises 250 pages of very interesting matter, on the subject of Light, Colours, and Vision. It is divided into five parts-1. On the Nature and Proportion of Light. 2. Its Reflection and Refraction. 3. Decomposed Light, or Colours. 4. Natural Vision. 5. Vision assisted by Art; concluding with a concise description of "some particular Dioptrical Instruments." The author uniformly appreciates, with much care and impartiality, the value of the several discoveries made by philosophers of different ages and nations, in relation to optics; and manifests, on every occasion, a liberal and ardent desire to do justice to the memory of our illustrious Newton. Speaking of the prism, he remarks, that

This instrument, managed by so skilful a hand, and sedulously watched in all its results by the eye of genius, has at length unveiled the true theory of colours. Newton has himself developed this theory in his Treatise on Optics, where the philosopher appears with so much dignity connected with the geometrician, immortalised already by the theory of attraction; and where we admire throughout a happy choice of decisive experiments, the art of placing them in the order in which they elucidate each other, and that correctness of reasoning which, in the inferences he draws, exhibits a faithful translation of the language of facts.'

The whole of this discussion is managed with singular ability; and we consider it, altogether, as forming one of the most masterly treatises on optics that have come before the public; the views which our author takes of his subject are extensive; and they are not only minutely, but strikingly delineated.

The quotations we have made are necessarily popular, because it was not easy to detach the scientific passages from their connexion with the context, nor, in many cases, to render them intelligible without the diagrams to which they refer. At the same time that we are pleased with the general execution of the work, we are delighted to meet with those frequent recognitions, which pervade it, of the Divine Author of the universe. We quote one of the remarks by way of admonition against the folly and impiety of some philosophers; "the word Nature, which we so frequently employ, must only be regarded as an abridged manner of expressing, sometimes the results of the laws to which the Supreme Being has sub

jected the universe; at others, the collection of beings which have sprung from his hands, &c."

The translator has performed his task, on the whole, with much ability, though it would not be difficult to point out omissions and defects in his notes, or blemishes in his translation. We repeat our acknowledgements to him, not only for having placed so valuable a treatise within the reach of the English reader, but for having considerably increased its utility by the frequent interspersion of copious notes, which display extensive reading, and bear equal testimony to his good sense and his persevering industry. The plates are very well engraved, and placed at the end of the respective volumes, in

a convenient form.

Art. VI. Lectures on Belles Lettres and Logic. By the late William
Barron, F. R. S. Ed. and Professor of Belles Lettres and Logic in the
University of St. Andrew's, 2 vols. 8vo. pp. 1217. Price Il. 1s. bds.
Longman and Co.

THESE Lectures, we are informed by a notice prefixed to
the first volume, were read during twenty-five years in
the University of St. Andrew's. The course is divided into
two departments, Belles Lettres, and Logic; and the Lectures
on the former of these are further divided into three parts;
the first treating of Language and Style: the second, of Elo
quence, or Public Speaking; the third, of Compositions in Prose
and Verse.

Mr. Barron begins by defining the rules of criticism to be no more than the deductions of sound reasoning concerning beauty and deformity, from the permanent principles and feelings of human nature." An observance of these rules, he adds, does not fetter the exertions of genius; for two of the most distinguished writers the world ever saw, Virgil and Milton, are remarkable for attention to them. A knowledge of criticism he considers not only as indispen sible to a writer, but as calculated to improve the enjoyment of all who read either for amusement or information, We acquiesce in these preliminary observations, and proceed to accompany our author through the rest of his course.

The first Lectures are occupied in delineating the progress of language, the supernatural origin of which, Mr. Barron seems to think he has exploded in a very few words; it will not be necessary for us to use many more, to express our dissatisfaction with his crude and hasty assertions. In early ages, nevertheless, language must be deficient and circumscribed; for it contains only the names of simple objects, and the signs of the passions common in savage life. But in respect to sound or melody, the progress of language is more VOL. IV. M

difficult of explanation; a point which introduces, in the second Lecture, some sensible though very imperfect observations on the remarkable opinion, so contrary to the experience of human nature in all ages, that the Greeks and Romans spoke habitually in a fixed musical or accentual recitative.

Mr. Barron next adverts to the opinion, entertained in common with him by many others, that our language was better writ ten toward the close of the 16th century, and in the beginning of the 17th, than in the middle and latter part of the 17th century. But, much as we respect Mr. Barron's authority, we must express a decided dissent from those views. It seems indeed a plausible idea, that, during the distractions of civil war, especially such fanatical struggles as those to which we allude, our language, instead of improving, should be deteriorated. But neither is the general argument confirmed by the testimony of other histories, nor is its specific application in this case supported by facts, when we enter into a rigid examination of circumstances. First, as to the general argument-The civil wars of Rome were yet more fierce and sanguinary than those of England; yet the language of Rome reached its meridian lustre in the reign of Augustus, which immediately succeeded these wars. During the greater part of a century, dating from the commencement of the Peloponnesian war, the Greeks were engaged in a continued series of intestine conflicts, in which the most savage and unprincipled acts were incessantly committed. Yet it was at the close of this period that the orations of Demosthenes exhibited all the force and beauty, not only of the Greek language, but of human eloquence.-Let us next_consider the particular circumstances of England, and of English authors, in the 17th century. The most prominent author who flourished during the civil wars is Milton. In the poetical style, at least, it will be universally admitted that he exhibits no declension of merit. But his prose may, with the utmost confidence, be pronounced superior to any thing which had yet appeared_in that species of composition, in the English language. For variety, strength, and expression, very often too for harmony, it will not even yet be easily paralleled. The characteristic by which chiefly it sounds aukwardly to our ears is this-the sentences are very much formed on the plan of the ancient languages, and hence are more long and complicated than suits the genius of a tongue which derives no perspicuity from distinct terminations. The clauses, likewise, are not urfrequently connected by relations which English syntax with difficulty sanctions. But it possesses a picturesque elegance which is peculiar to the ancient dialect of our tongue, a grandeur and richness which is truly Miltonic, and, what is

more surprising, an air of genuine Anglicism, notwithstanding the words and idioms adopted from his favourite languages of Greece and Rome. But is Milton the only author who can be adduced in support of our opinion? Does not Hobbes belong to the period in question? Now the style of Hobbes may be regarded as almost a model of genuine English purity; and in point of precision, he has perhaps no parallel till the writings of Reid. In fact, the style of Hobbes would be regarded as easy and classical at this day. Let us yet produce another instance of an author who is still regarded, both in prose and verse, as a principal standard of the English language. Dryden began to write in the time of Cromwell; and though his principal pieces were composed after the Restoration, yet his genius was undoubtedly formed during the preceding period. The truth is, that the language and taste of the nation continued in a gradual progress of improvement from the revival of letters; and this progress seems even to have received. some acceleration during the civil disturbances; how are we otherwise to account for the number of fine authors who burst into light in the time of Charles II. These must have received their education, and the strength and colour of their minds, during the age that preceded his accession. Cowley wrote so fine and pure a style, that Mr. Hume has inserted his character of Cromwell in the history of England, as a picture drawn, not only by an eye-witness, but by the hand of a

master.

We are unwilling to detain our readers in the forbidding department of Grammar, however ingeniously described by this author; and we hasten to the more promising subject of Style. In this branch of the course, we shall present the reader with a specimen of Mr. Barron's composition:

Perspicuity in the choice of single words presupposes purity, propriety, and precision. Purity requires that those words only shall be employed, which are of classical authority. Propriety, that, of classical words, those shall always be selected which are best adapted to express the meaning. Precision, that no more words shall be introduced, than are necessary to convey the sense. As these qualities comprehend all the ingredients of a perspicuous style, opposed to them will be found the va rious defects and errors which render style obscure.

As purity enjoins the use of such words as are of classical authority alone, it may perhaps be asked how we shall determine the nature and extent of this authority, or distinguish the words which may deserve that appellation. All language, it may be said, is in continual fluctuation; improvements are perpetually going on, and new ideas require new words to denote them, though we should not admit preference in respect of sound, to be a sufficient reason for employing a new word rather than an old one.