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ART. XVII.

A Hebrew Grammar, in the English Language, by Joseph Samuel C. F. Frey, Editor of Vanderhooght's Hebrew Bible. London: Gale and Curtis 1813. 8vo. pp. 104. +44.148. 10s. 6d. extra bds.

Of late years Hebrew literature has occupied much of the OF

public attention; and, as might be expected, many Grammars have been published: notwithstanding this, however, much in this department is wanting. The Grammars in question are generally composed in the Latin language, and thus rendered entirely useless to the major and younger part of the community. The learned, indeed, have always been able to acquire the Hebrew Tongue, by means of the many learned Treatises on the subject: to them the circumstance above alluded to, presented no difficulties; it perhaps increased the facility of attaining the language; but to the school-boy or the unlearned, it opposed a complete barrier. It is obvious, that, generally speaking, the rudiments of Hebrew should be learnt at school; and it were desirable that they should be studied, even before the pupil has acquired a perfect knowledge of the Latin language: in this case, the protracted use of a Latin Grammar presents a great impediment. Nor is this the only argument against the common custom of Hebrew Grammarians. Many persons, somewhat advanced in life, have desired to acquire a sufficient knowledge of Hebrew to read the Scriptures in the original; but of Latin these persons are completely ignorant. Such is generally the case with Dissenting Teachers. They are sometimes taken from among the lower Orders of the People; and when they enter on what is generally termed their ministry' are completely ignorant of every species of Classical learning. To these men, however, the acquirement of Hebrew would be a great advantage; but in the present state of things how is it to be acquired?

It is but just, indeed, to state, that some grammars have been composed in English, but the number of these is small, and even these few are not free from considerable defects. The Grammar of Parkhurst is without points; and without the true vowels all Hebrew becomes confusion: that by Newton labors under the same disadvantage: and Lyons's Hebrew Grammar,

although it teaches the system of the points, is too short to lead to a perfect knowledge of the language.

From all these defects, that before us is completely free: Mr. Frey has given all the necessary rules according to the best authorities he has illustrated his rules with copious and apposite examples: he has given complete Tables of the Hebrew Particles; and at the end he has printed the whole book of Psalms from the excellent edition of the Hebrew Bible by Vander-Hooght.

Upon the whole, therefore, we cannot but recommend this Grammar to general notice. It will be found a complete Introduction to the study of Hebrew; and the Lexicon to be published by the same author, will, if executed with the same ability, materially assist in the cultivation of Hebrew Literature. With respect to the utility of these studies, it were needless to expatiate: besides its other advantages, Hebrew is the key to the other Oriental Languages: without some acquaintance with it, it were more difficult to learn the Arabic or Persian Tongues. In short, he who has attained a critical knowledge of Hebrew may regard himself as able to learn all other learned languages with facility. We hope, therefore,

that Mr. F. will meet with encouragement in his endeavours to explain it. Of the price of his work no one will complain, when the difficulty and expense of printing Hebrew are considered it is within the reach of all, and the addition of the Psalms will render it peculiarly useful in schools.

ART. XVIII. A Collection of Ancient and Modern Scottish Ballads, Tales, and Songs, with Explanatory Notes and Observations. By JOHN GILCHRIST. In 2 Vols. Edinburgh: Blackwood, 1815.

FEW objects can be more interesting than tracing the history of Poetry, and examining the causes of the changes it has undergone. This object has of late years been pursued with success, and the pursuit has had a visible and beneficial influence upon the poetical productions of the age. The works of W. Scott, and other living poets, are evidences of a taste and tone of composition formed, in many essential points, on the characteristic qualities of our early poetry. It is allowed that nothing can be a better criterion of the manners and spirit of an age, than the

songs and ballads composed in it. Accordingly, in rude ages, when men's passions were violent, and their minds but little susceptible of the softer emotions, their poetry partook of the coarse and boisterous character of their feelings. It was distinguished by force of expression, and displayed, with a terrible energy, the struggles and melancholy effects of the fiercer passions. Scenes of savage warfare, but still more frequently the agency of invisible beings, afforded subjects the best calculated to make a suitable impression on the rugged natures of those for whose entertainment they were devised.

Civilization advanced; men grew ashamed of this undisguised display of the fiercer emotions. It was found necessary to repress the ebullitions of selfishness; the propensity to violence was by degrees subdued, and gentler habits and manners were the result.-Poetry could not remain uninfluenced by this beneficial change. To the wild and ungovernable impulses of native feeling succeeded a tone of calm and tempered emotion; and the tenderness and delicacy, as well as the enthusiasm and warmth of the softer passions, breathed through the effusions of the

muse.

The truth of these observations is exemplified in the volumes before us. The poems of an earlier date are characterised by a broadness of humor, a freedom of thought and expression, which in modern productions would be scarcely tolerable; but which our good, unpolished ancestors, not only tolerated, but admired. These coarser effusions of the muse are succeeded by songs and ballads full of tenderness, sentiment, and delicacythat breathe all the warmth and freshness of the kindlier affections that display the heroism so frequently manifested in the humble scenes of life, and the triumph of the generous mind in situations painful and trying.

The collection now presented to the public, is divided into three parts. In the classification of the first and third, Mr. Gilchrist has adopted the plan of the acute and judicious Mr. Ritson. The first consists of historical and romantic ballads; the second of tales; and the third of songs, under the heads, humorous, love, and miscellaneous. To the poems in the first and second part, some judicious observations are prefixed, with a view to elucidate the transactions related; and in the third part, we are furnished with the authors' names, and some interesting anecdotes relative to many of the songs. As specimens of the fund of entertainment to be derived from these volumes, by those who are not so unfortunate as (in a case like this) to have been born

south of the Tweed, we shall select examples from each of the classes. And first, Fair Annie of Lochroyan.'

“O gin I had a bonny ship,

And men to sail wi' me,
It's I wad gang to my true love,
Sin he winna come to me!'

Her father's gien her a bonny ship,
And sent her to the stran';

She's taen her young son in her arms,
And turn'd her back to the lan'.

She hadna been o'the sea sailin'
About a month or more,

Till landed has she her bonny ship
Near her true-love's door.

The nicht was dark, the wind blew cauld,
And her love was fast asleep,

And the bairn that was in her twa arms,
Fu' sair began to greet.

Lang stood she at her true-love's door,
And lang tirled at the pin;

At length up gat his fause mother,
Says; Wha's that wad be in?"

'Oh, it is Annie of Lochroyan,
Your love, come o'er the sea,
But and your young son in her arms;
So open the door to me.'

" Awa, awa, ye ill woman,

You're na come here for gude;
You're but a witch, or a vile warlock,
Or mermaid o' the flude.'

'I am nae witch or vile warlock,
Or mermaiden' said she;—

I'm but your Annie of Lochroyan ;-
O, open the door to me!'

'O, gin ye be Annie of Lochroyan,
As I trust not ye be,

What token can ye gie that e'er

I kept your companie?'

'O dinna ye mind, love Gregor,' she says,
'As we twa sat at dine,

How we chang'd the rings frae our fingers,

And I can shew thee thine.

Sae open the door, now, love Gregor,
And open it with speed;

Or your young son that is in my arms,
For cauld will soon be dead.'

'Awa, awa, ye ill woman;

Gae frae my door for shame,

For I hae gotten anither fair love,
Sae ye may hie you hame.'

'O hae ye gotten anither fair love,
For a' the oaths you sware?
Then fare ye weel, now, fause Gregor,
For me ye's never see mair!'

O, hooly, hooly gaed she back,
As the day began to peep;
She set her foot on good ship board,
And sair, sair did she weep.
Love Gregor started frae his sleep,
And to his mother did say;
'I dreamt a dream this nicht, mither,
That maks my heart richt wae;
'I dreamt that Annie of Lochroyan,
The flower o' a' her kin,

Was standin' mournin' at my door,
But nane wad let her in.'

'O, there was a woman stood at the door,
With a bairn intill her arm;

But I wadna let her within the bower,

For fear she had done you harm.'

O quickly, quickly raise he up,
And fast ran to the strand;

And there he saw his fair Annie,

Was sailing frae the land.

And heigh, Annie!' and 'how Annie!

O, Annie speak to me !'

But ay the louder he cried 'Annie!

The louder raired the sea.

The wind grew loud, and the sea grew rough, And the ship was rent in twain;

And soon he saw his fair Annie,

Come floating o'er the main.

He saw his young son in her arms,
Baith toss'd aboon the tide;
He wrang his hands, and fast he ran,
And plunged in the sea sae wide.
He catch'd her by the yellow hair,
And drew her to the strand;
But cauld and stiff was every limb,
Before he reach'd the land.

O first he kist her cheery cheek,
And syne he kist her chin,
And sair he kist her ruby lips;

But there was nae breath within.
O, he has mourn'd o'er fair Annie,
Till the sun was ganging down;
Syne wi' a sich his heart it brast,
And his saul to heaven has flown.