Webster's account of the state of the Duchess of Malfi is not dissimilar: She's sad as one us'd to't, and she seems Rather to welcome the end of misery Than shun it: a behaviour so noble As gives a majesty to adversity. You may observe the shape of loveliness More perfect in her tears than in her smiles. A coffin is afterwards introduced into the room, in Webster's play; and Bossola, whose business it is to aggravate the misery of the Duchess, tells her that "it is her last presence chamber." Shirley's picture of his heroine is, however, more tender, though not so fearful, and in the bitterness of her hopeless agony Rosaura exclaims: But I, poor I, must suffer more: there's not One little star in heaven will look on me, Unless to chuse me out the mark, on whom It may shoot down some angry influence. In Act IV, there is a vigorous scene between an officer (whom Columbo had grossly injured, and who undertakes the revenge of the Duchess,) called Hernando, and Columbo, but our limits will not allow us to quote it. He kills Columbo in fair encounter;' and in Act V, the Duchess is represented as pretending a derangement of her wits, in order the better to accomplish her purposes; how it aids them we do not exactly perceive. In the last scene Hernando and the Cardinal destroy each other, the latter contriving, under pretence of an antidote, to administer poison to RoThus all the principal characters are disposed of by the catastrophe. saura. clusion of the present article, to inWe had intended, before the controduce some observations on Philip Chabot, Admiral of France, a tragedy, the joint production of Chapman and Shirley, with a view particularly to point out the difference of the parts; for there is a manifest distinction between the stile of the one poet, and of the other. What has been already said, however, has extended beyond what was originally designed, and if we perform our intention in this respect at all, it must be in the ensuing number, before we speak of the Pastoral, Masques, and Poems of Shirley. K. Q. X. A NEW BIBLIOGRAPHICAL WORK. It is singular, that, though England has long abounded with intelligent book collectors, and though it draws to itself, as the best market, the most curious and valuable libraries from all parts of Europe, no extensive Bibliographical work, at all approaching to perfection, has yet been produced by an Englishman. Until the appearance of the Bibliotheca Spenceriana, and the Bibliographical Decameron, we possessed no works in this department, which could for a moment beput in competition with those compiled by the French and Germans; and even Mr. Dibdin's labours are far from possessing a degree of comprehensiveness and accuracy, sufficient to render them of much service to the collector. The Bibliotheca Spenceriana contains some good specimens of early printing, and some important information on that subject; but the historical and critical accounts of the works described, are frequently by no VOL. II. means to be relied on; and to a German more particularly, who possesses a Freytag, Baumgarten, Masch, Heineken, Hummel, Reuss, Pfeiffer, Gemeiner, Denis, Braun, Helmschrot, Seemiller, Zapf, Panzer, Grass, Strauss, &c. they will be found to convey no new information.-The Decameron is not merely deficient in information, but, with all its expensiveness and beauty of exterior, it abounds with errors, and even with errors of the Press, of no small importance. One cause of the defectiveness of Mr. Dibdin's works, is his ignorance of the German; in which language, we may say without exaggeration, more information with respect to Bibliography is conveyed, than in any other. Germany abounds with public libraries, to which access has always been easy; whereas this island, though containing numerous private collections, has, comparatively speaking, few great public libraries,—and none E (in England at least) of easy access. This circumstance may, in a great measure, account for our inferiority, as Bibliographers, compared with the Germans or even the French; for where few have opportunities of seeing large collections of books, it is natural that few should possess so extensive a knowledge of their history as to be able to distinguish themselves as bibliographers. Nor does private liberality supply the want of public institutions amongst us; for the example of Sir Joseph Banks, whose library, rich in one department of knowledge, was always at the command of every applicant, has never yet found, and probably never will find, imitators among his countrymen. Of the Bibliographical works in the form of a Lexicon, the most useful which has up to this time appeared, is unquestionably the Manuel du Libraire of Brunet. A new work of this description (but on a much more improved plan, and infinitely more comprehen sive as well as correct in point of execution), by Mr. Ebert, the learned Secretary of the Dresden Library, is now in progress of publication in Germany. Of this book we have the first part before us; and it must be admitted that the author, who has the command of a library containing above 200,000 volumes, and 5000 manuscripts, many of them exceedingly curious and valuable, possesses great advantages of situation for such an undertaking. It is his object to give: 1. All the distinguished works in the ancient and modern languages, that belong to what the French call literature. 2. All the Greek and Roman classics that are of value in the eyes of the collector; including the latest editions, when these are distinguished by the critical labour bestowed on them. 3. All works in philosophy, and particularly all critical dictionaries, and grammars, in all languages and dialects; including the books in the Eastern languages, printed in the East Indies and at Constantinople. 4. All works in history, philoso phy, mathematics, possessing permanent interest, either from their scientific value, or peculiarities appertaining to them. 5. All incunabula (early impres sions) down to the year 1470. 6. Rare works-generally. 7. Splendid editions, and works containing plates. 8. Works that are expensive, not from rarity or plates, or sumptuousness of printing, or paper, but in consequence of difficulties in the way of their execution;-as, for instance, the most of those of the Propaganda. 9. The most important of the works in what are called the four faculties, &c. &c. The extracts from a work of this description cannot enable a reader to judge how far it approaches to perfection, but they best serve, perhaps, to explain the plan on which it is executed. The articles coming under the head of Biblia in this number, if we had room for them, would be found as well adapted for this purpose as any other. But our limited space will only allow us to extract the following. 1264. Arthur or Artus. The lyf and acts of the king Arthur; of his noble knyghtes of the round table ... and inthende the dolorous deth of them all; which book was reduced into englyssh by Sr Thomas Malory knyght.-In thabbey Westmestre, Caxton, 1485 the last day of juyl. Small folio, black print. The copies known to be in England are twe. Earl Jersey has one, and the other (defective) was purchased by Lord Spencer for 7501. It was reprinted with an introduction and notes, by Rob. Southey, London, 1817. 2 vols. 4to. (only 250 copies). Of the 2d. Edit. Westmestre, Wynkyn de Worde, 1498, fol. black letter with wooden cuts, only one defective copy is known to exist, which Lord Spencer purchased at the Roxburgh Sale for 317. 10s. London, 1634, 4to. 1264. the byrth, lyf and actes of King Arthur. With an introd. and notes, by R. Southey, London, 1817. 4to. 2 vols. 81. 2s. From Caxton's Edition of 1485. 1265. — le livre du vaillant et preux chevalier Artus, fils du duc de Bretaigne. Without place, 1493, 7th July, fol. black print, with woodcuts. This edit. of what is called the small Artus (see the larger under the head Roman) is very rare. (34 francs Valliere). Also Lyon • Allgemeines Bibliographisches Lexikon. Leipsic, 1820. Eohte, London. 1496 fol. Paris, le Noir, 1502, 4to. Paris 1523, 4to. Also with the title Sensuyt le rommant des merveilleux faits, etc. Par. pour Jehan Bouffon, without year, 4to. black print, with woodcuts and the sign. a-JJiij. All these Editions in black print are in great request. Also Paris, N. Bonfons, 1584, 4to. with woodcuts, 152 marked and three unmarked leaves. 1265b. The history of the valiant knight Arthur of little Britain, a romance, transl. by Lord Berners. New Ed. (by M. Utterson) London, 1814, 4to. with Plates (only 175 copies printed). 1459. Aymon. Les quatre fils Aymon (trad. de rime en prose). At the end: Cy finist lhystoire du noble et vaillant chevalier Regnault de Montauban, imprimée a Lyon, le xx jour du moys dapuril l'an mil quatre cens nonante trois (1493) fol. Black print with woodcuts. Rare. 1463. histoire singulière et fort récréative, contenant les faitz et gestes des quatre filz Aymon et de leur cousin Mangis lequel fut pape de Rome, semblablement la chronique du chev. Ma brian, roy de Jérusalem. Par., Denys Jeanot, without year, 4to, Black Letter... 1464. Par., Galliot du Pré, 1525. Small fol. Black Letter. 1465. hist. des quatre fils Aymon etc. reduit de vieil langage corrompu, bon vulgaire françois, compilé par Guy Bounay et achevé par J. le Cueur, Seigneur de Nailly. Lyon, Rigaud, 1581, 8vo. 1466. en Also, Lyon, Arnouillet, 1573, 4to. and Lyon, Rigaud, 1583, 4to. with cuts. l'hist des quatre fils Aymon, très-nobles et vaillans chevaliers, Troyes, Oudot (about 1625,) 4to. with 1467. le mariage des quatre fils d'Aymon, et des filles Dampsimon, avec tout l'ordre qui a été gardé au banquet. Rouen, Ab. Cousturier, without year. 8vo. Is the same book. 1469. 1 1468. the right plaisant and goodly historie of the four sonnes of Aimon. Lond., Copeland, 1554, fol. very rare.. In the Roxburgh Sale. 52 guineas. eyn schön lustig Geschicht, wie Keyser Carle der gross vier gebrüder, Hertzog Aymons Söhn, 16 jar langk bekrieget. etc. A. fr. Sprach in Teutsch transferiert. Siemmern, Jheron, Rodler, 1535, fol. with cuts, 168 unmarked Leaves. Very rare. 1460. les quatre filz Aymon. At the end cy finist lystoire du preux et vaillant cheualier Regnault de Montau-. ban. Lyon. J. de Vingle, 1495, 5 Mai. fol. Black pr. with wood cuts, 133 unmarked leaves. 1461. The same title and the same Lyon. J. de Vingle, 1497, Black pr. with cuts, 133 conclusion. 4 Nov. fol. unmarked leaves. 1462. les quatre filz Aymon. Par., veufue de Mch. le Noir, 1521, 4toBlack pr. with cuts. The first part of this learned work contains twelve quarto sheets closely printed, and the whole will be completed in eight or ten parts, forming two volumes. We wish, for the sake of our Bibliographers, that the observations of the author were written in a language generally understood in this country than German.* more * Since writing the above we have received the second part of this work. Moi j'aime la dance; Le plaisir que nous fuit sans retour Bien avant l'amour. LA DANSE. Sous des lambris d'or, et sous l'ombrage, Le heros, et le sauvage, Dans le camp, même à la cour, Le papillon dance Mollement sur les bords d'un ruisseaux, Et ride sur les eaux. Les poissons sous les rives fleuries, Dans le ciel on danse; Les nuages, la grêle, et le vent, Au bruit des autans. Et lorsque les eclats du tonnerre C'est que les quatre elemens Chacun a sa danse La walse est consacrée aux amans, Le corps et les sens.- Le minuet plait à l'innocence, La contre danse. FREELY TRANSLATED. Yes, I love to dance, Sir; In painted hall, in peaceful cot, The Butterflies all dance, Sir ; Dancing while he sings. The flouncing fish the fashion shares, The monkeys dance, with dancing bears, And even the little dogs dance! The Summer flowers dance, Sir; Zephyr blows to dance the rose, The odour that it throws. The Shepherds dance on meadow ground, O'er all the grass elastic bound, And make the Daisies dance. In the skies they dance, Sir, Flames that shoot, and storms to boot, While Boreas plays the flute. And when aloud the thunder vents Upon the earth its rude descents, 'Tis only that the elements Are taking a little dance. Each one has his dance, Sir; Love has shown the waltz his own, And the quadrille from France Sir, For flirts and fops is known. The romp will join the may day set, Will claim the country dance. MR. HUNT'S HERO AND LEANDER, AND BACCHUS [Our series of Living Authors, of which No. 3, will appear in our next Number, is to be understood as expressing the sentiments of this Magazine on contemporaneous writers. Mr. Hunt will find a place in it; but in the mean time we are happy to insert the following paper from a Correspondent, who has taken, we think, a just view of the merits of Mr. Hunt's poetry.] ONE of the precious results of modern criticism has been to keep the beauties contained in the poetry of Mr. Leigh Hunt almost entirely unknown, out of the literary world. We make this complaint in behalf of the public, not of the poet. If Mr. Hunt considers this as an evil, he has fairly brought it upon himself; and, as a reasonable man, if he is sorry, he will at least not be angry at it. If he is better known as the editor of a party newspaper than as the author of Rimini, or the Descent of Liberty, it is because his restless ambition has urged him to be "busied about many things," rather than to chuse the "better part." But that he is better known and more highly valued as a politician than a poet, is a very expressive sign of the times in which we live. In fact, Politics is lord of the ascendant; and even if it could bear a rival near the throne, that rival would not be Poetry.There is a great deal of cant, and still more of affectation, in the admiration which is expressed for the poetry of the present day. It is a fashion; and though, like most other fashions, it has its remote foundation in something good,—yet it is followed, not because it ought to be a fashion, but because it is one. The real wits and critics of the day have talked and written poetry into repute, because it is the most fertile of all subjects to declaim about: and the would-be wits and critics echo back the decisions of their oracles, only in the wrong place,-till the two together the "sounding brass" and the "tinkling cymbals"-make a confused and confusing hubbub, that is at once disagreeable and useless because it is perfectly evident, that the former care as little about the subject of their declamation, as the latter know about it. This evident want of sincerity is perpetually betraying both (we say both-for it places wits and fools on a perfect level) into the most gross and obvious absurdities. They speak slightingly of the poet of the Excursion, because he was not fool enough to refuse that which gave him leisure to write the Excursion:-they would persuade us, that Roderick and Kehama are not poetry, because the author of them is Poet Laureat:-and they treat the writer of Rimini with contempt, because he happens to be editor of the Examiner. We have, probably, at this time, more persons who make the admiration of poetry their outward boast, and fewer who make the love of it their inward happiness, than at any former period since the revival of letters. Our affection for it is too visible and obtrusive and noisy, to be either very lasting, or very sincere. Poetry is the reigning belle of the day-admired by all, and loved by none. We shall wear the fashionas our ancestors did ruffs and farthingales-as long as we can persuade ourselves that it is becoming; and then we shall put it off as we would a worn-out garment. To return to our more immediate subject,-if Mr. Hunt's poetry has not hitherto received anything like the attention it deserves, he must not be surprised, and we dare say he is not. He has made pretty free with his political adversaries, and must expect that they will do the same by their's. Besides, the stream of poetical fame is as devious, as uncertain, and as easily turned aside when it first issues from its source, as it is defined, regular, and unchangeable, * Hero and Leander, and Bacchus and Ariadne. By Leigh Hunt. C. and J. Ollier, London, 1819. |