dramatic, but consists in Miss Edgeworth's usual skilful representation of Irish character, slovenliness, and poverty. The scene is the parlour of the old inn, where Miss Florinda Gallagher is dressing herself in preparation for the arrival of the Scotch drum-major, whom she is in hopes of captivating. Her clothes are thrown about the floor, and the disorder is increased by her father; who, in his search for his key of the spirits, has emptied the chest containing her dresses, finds a quantity of apples, and calls Biddy, the servant, to take directions for making them into a pie:

Enter Biddy, running with a ladle in her hand.

Christy. Drop whatever you have in your hand, and come here, and be hanged to you. And had you no ears to your head, Biddy?

Biddy. Sure I have, Sir-ears enough. Only they are bothering me so without, that pig and the dog fighting, that I could not hear ye calling at-all-at-all. What is it? - For I'm skimming the pot, and can't lave it. (Miss Gallagher goes on dressing.)

Christy. It's only these apples, see! apple-pie, Biddy, smart.

You'll make me an

Biddy. Save us, Sit! And how will I ever get time, when I've the hash to make for them Scotch yet? Nor can I tell, for the life of me, what it was I did with the onions and scallions neither, barring by great luck they'd be in and under the press here, (Running to look under the press) which they are, praised be God! in the far corner. (Biddy stretches her arm under the press.) Christy. There's a nice girl, and a cute cliver girl, worth a dozen of your Ferrinafads.

(Biddy throws the onions out while he speaks.) Miss G. Then she's as idle a girl as treads the earth, in or out of shoe-leather, for there's my bed that she has not made yet, and the stairs with a month's dust always! and never ready by any chance to do a pin's worth for one, when one's dressing.

(A drum heard; the sound seems to be approaching near.) Christy. Blood! the last rowl of the drum, and I not got the kay of the spirits.

Miss G. Oh, saints above! what's gone with my plaid scarf? and my hair behind, see!

Miss Gallagher twists up her hair behind.-Biddy gathers up the onions into her apron, and exit hastily. Christy runs about the room in a distracted manner, looking under and over every thing, repeating-The kay! the kay! the kay! Christy. For the whiskey must be had for them Scotch, and the bottled beer too for them English; and how will I get all or any without the kay? Bones, and distraction!

Miss G. And my plaid hanke'cher that must be had, and where will I find it ?-in the name of all the damons in this chaos you've made me out of the chist, father? And how will I git all in again, before the drum-major's in it?

Christy.

Christy. (Sweeping up a heap of things in his arms, and throwing them into the chest.) Very asy, sure! this ways.

Miss G. (Darting forward.) There's the plaid handke'cher, (She draws it out from the heap under her father's arm, and smooths it on her knee.) But, oh! father, how you are making hay of my things! Christy. Then I wish I could make hay of them, for hay is much wanting for the horses that's in it.

Miss G. (Putting on her plaid scarf.) Weary on these pins! that I can't stick any way at all, my hands all trimble so. - Biddy! Biddy! Biddy! Biddy, can't ye? (Re-enter Biddy, looking bewildered.) Just pin me behind, girl-smart.

Christy. Biddy, is it? Biddy, girl, come over and help me tramp down this hay. (Christy jumps into the chest.)

'Miss G. Oh, Biddy, run and stop him, for the love of God! with his brogues and big feet.

Biddy. Oh, marcy! that's too bad, Sir; get out o' that if you plase, or Miss Florry will go mad, sure! and the major that's coming up the street. Oh, Sir, if you plase, in the name of marcy!

• Christy. (Jumping out.) Why, then, sittle it all yourself, Biddy, and success to you; but you'll no more get all in again afore Christmas, to the best of my opinion, no more, sce! than you'd get bottled porter, froth and all, into the bottle again, once

it was out.

Miss G. Such comparisons! (tossing back her head.)

Christy. And caparisons!-(pointing to the finery on the floor.) But in the middle of it all, lend me the poker, which will answer for the master-kay, sure! that poker that is houlding up the window can't ye, Biddy?

-

(Biddy runs and pulls the poker hastily from under the sash, which suddenly falls, and every pane of glass falls out and breaks.)

Christy. Murder! and no glazier!

Miss G. Then, Biddy, of all girls, alive or dead, you're the awk'ardest, vulgarest, unluckiest to touch any thing at all!

Biddy. (Picking up the glass.) I can't think what's come to the glass, that makes it break so asy the day! sure I done it a hundred times the same, and it never broke wid me afore.

Christy. Well! stick up a petticoat, or something of the kind, and any way lend me hould of the poker, for, in lieu of a kay, that's the only frind in need! (Exit Christy with the poker.)'

We shall speedily take notice of the new Tales from this fair writer's pen; which, as we before intimated, have just made their appearance.

ART. IX. Beauties of Massinger. 12mo. pp. 304. 8s. Boards. Porter. 1817.

W E have here a volume as unassuming in its internal pretensions as in its form and title-page. A modest dedication," as in duty bound," to Mr. Gifford; a neat sonnet, the humility of which, if it had been applied to a work assert

ing the claim of originality, would have been very commendable, but which, as prefixed to this selection of passages, was scarcely requisite; an advertisement of two pages by way of explaining the compiler's design; a brief sketch of the life of Massinger, well abstracted from the several biographies; and a short argument of each of his plays, in the order in which they are printed in the last edition of them; constitute the whole of the book which can establish the merit of authorship. These expositions are followed by one of the most striking scenes, as a specimen of the conduct of the piece, and the style of the dialogue: then come detached passages, each having a title prefixed, which may be found in the index subjoined to the volume for the sake of reference.

Such is the simple history of an extremely simple publication; the merit of which must, it is obvious, principally consist in the truth and perspicuity of the prefatory arguments, and the judiciousness of the selections made; and on both these heads the general survey, which our leisure has allowed us to make of its contents, enables us to report favourably. The arguments are merely narrative, professedly without any attempt at critical remark or illustration: to quote them, therefore, seems to be altogether superfluous; and to give specimens of the specimens would be still more unnecessary. Mr. Gifford has conferred the great benefit on the public of placing Massinger himself, in a much more correct form than he had ever borne, on the shelves of every possessor of a library: yet, with all his beauties and excellences, Massinger will never recover a place among authors who are generally read. The attempts to revive him on the stage have almost entirely failed, with the exception of the New Way to pay old Debts; and in the closet, unless" the love of antique lore" marvellously helps out the reader, he will scarcely get through any one play. The more we read of our old dramatic authors,—and it is a study to which on several recent occasions we have professed ourselves to be, and in truth are, very fondly attached, the more we are convinced that only one among them was capable of true dramatic composition; and, to say nothing of the Marlowes and Marstons and Deckers, the Middletons and Websters and Rowleys, the stilts on which their respective editors have chosen to mount such poets as Fletcher, Jonson, and Massinger, only tend to render them nearly ridiculous when placed by the side of the giant Shakspeare.

On this account, chiefly, we offer our sincere thanks to the present compiler, for what we really esteem as one of the most sensible presents that can be made to the lovers of poetry in general. By more than nine-tenths of those who may honestly come under this description, our old dramatists cannot

be

be read, except in detached passages; and in passages only they certainly are able to afford the richest of all poetical treats, to those whose taste is genuine and unsophisticated. They are capable of still more, of correcting a vitiated taste, and bringing it back to the love of truth and simplicity. It is a disgrace to our literature that, while a bookseller's shop is full of "Elegant Extracts" in all shapes and sizes, culled from the most servile copyists since the Restoration, we cannot lay our hands on one compilation from our elder bards," the pure well of English undefiled;" which remain locked up from common use by the expensive form of modern editions, or the scarcity of the original copies.

It is proper to have begun with Massinger. In estimating his rank as a dramatic writer among those of his day, there is room for very considerable doubt: but, with respect to his poetical genius, we think that he stands decidedly next to Shakspeare; and this little manual will open a new fund of delight to many who, in spite of Monck Mason and Gifford, have never yet suspected what is in store for them. We shall be extremely glad to see the example followed by an equally judicious selection from Beaumont and Fletcher, and afterward from Ford, Middleton, and the rest: but we should have no objection to the addition of some good criticism, as introduc tory to the beauties which are successively presented to us; not being of so fastidious a turn as to disdain the gratification afforded by a fine scene, whether in nature or in poetry, because an obliging guide tells us previously when and where we ought to be pleased. We think, also, that it would be a manifest and decided improvement on the plan, if, instead of a mere argument prefixed to each division of extracts, the author would take the trouble of leading us through every drama, step by step; introducing us to the principal characters, and giving us a general view of the conduct of the piece. The poetical beauties would themselves be greatly enhanced by such a course; and we should have at once before our eyes a comprehensive view of the early English stage, and of the genius of its several founders. That which Mr. Ellis so elegantly and successfully accomplished for our old romances might, with vast advantage, be attempted with respect to our old dramas; though it is one thing to adopt Mr. Ellis's plan, and another to carry it into execution like Mr. Ellis. With regard to the gentleman who has favoured us with the present volume, he has done too little himself to enable us to judge precisely how much more he may be capable of accomplishing: but we have already said that what he has done he has done well.

MONTHLY

MONTHLY CATALOGUE,

FOR JULY, 1817.

CLASSICS, EDUCATION, &c.

Art. 1o. P. Virgilii Maronis Bucolica, Georgica, Æneis; accedunt in gratiam juventutis nota quædam Anglice scripta. Edit. 2nda. Londini, in Ædibus Valpianis. 12mo. pp. 640. 7s. 6d. Boards.

This little school-Virgil is a re-print, with the addition of some notes in English, of one which formerly issued from the same press. These notes are in part translated from the Delphin edition, and in part taken from Professors Martyn and Heyne: but those on the Eclogues and Georgics exclusively are from the pen of that able scholar, J. H. Voss, whose critical researches have long since become extremely scarce. The references to the Greek poets are probably quoted from what is termed the OxfordVirgil, if indeed there be any unnoticed by Heyne. The text is neatly printed, and, as far as we examined it, we found it correct. With the notes we are dissatisfied on one account only, which is that, besides general elucidation, they frequently supply the place of a glossary; and we are convinced that these appendices encourage idleness in boys of talent, although they may be useful resources to those who are less strongly gifted. The writer of a glossary is apt to round his phrase too much, in the endeavour to convey the fullness of idiomatic expressions. We consider that a knowlege of idiom is an object secondary to grammatical precision, and will usually follow the former when that is obtained.

Art. II.

Λουκιανου Σαμοσαλέως ̓Αναλεκία. Selections from Lucian, with a Latin Translation, and English Notes; to which are subjoined a Mythological Index, and Lexicon adapted to the Work: compiled for the Use of Schools, by John Walker, formerly Fellow of Dublin College. 12mo. pp. 357. Ios. 6d. Printed at Glasgow.

An useful little book for students in the Greek language, with well-selected dialogues, and much more comprehensive than the portion of Lucian that is given in the "Scriptores Græci" now read in Eton and Harrow schools. The text is from Reitzius and Hemsterhuis, printed with great correctness, and cleared. from any passages which are offensive to the eye of decency. Our observations on glossaries attached to school-books, in the last article, are in great part applicable to the Græco-English Lexicon appended to this little volume: which, nevertheless, displays much industry and sound scholarship in its author, and, in simply giving the best English expression for the correspondent one in the Greek language, with the etymology of the latter, is free from the objection of teaching by paraphrastic vocabulary: a mode which we deem destructive of all real knowlege. The Latin version has some sensible notes attached, specifying the few variations from the text which the editor has adopted. Mr. Walker is himself engaged in education at Glasgow, and receives a few pupils in his REV. JULY, 1817.

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Own