they have hands, eyes, and tongues; but their hands do not seem to have been formed for action; their eyes have neither the fire of the warrior, nor the all-surveying glance of the experienced leader; and their tongues, so far as they are indexes of their minds, only prove them to be (as it were) characters without a character. What Hotspur is, no man can tell from his discourse. He appears rather a philosopher than a soldier, and yet he is neither. When King Edward tells him that the Scots had already seen his back, he replies, "Ay; but the mass which now lies weltering On yon hill side, like a leviathan That's stranded on the shallows, then had soul Order and discipline, and power of action. Are these the sentiments of a warrior? or would not a soldier blush to have it thought, much less to acknowledge, that his only hopes of victory depended on the impotence or cowardice of his enemy. Indeed King Edward and his commanders seem to be unacquainted with heroic sentiments of any kind, and with regard to personal bravery they have none of it. They are distant spectators of the combat, and talk not of the exploits which they have performed themselves, but of what their "peasant" soldiery are performing in their presence. The victory it is true is given to the English, but it is not the victory of the lion over the tyger; it is not the victory of rival bravery or patriotic enthusiasm. It is a victory without honour, and appears to be acquired by the same mechanical process, which is exercised in constructing a waggon or a cart. The English advance in a solid body, and shoot their arrows at the enemy without seeming to know for what purpose they shoot them. They act like machines, and can therefore claim no honour from the victory which they obtain. Indeed it would appear not only from the present sketch, but from the spirit which presides over all Sir Walter Scott's writings, that he considers Englishmen no way studious about the means by which they obtain success, provided they obtain it. The true spirit of chivalry, that spirit which looks not to consequences, but obeys every impulse and every call which is consesecrated by the name of honour and of heroism, is a spirit which he confines to his countrymen alone; and as he seems to believe Englishmen destitute of it, he thinks he sufficiently gratifies their national vanity by repre senting them always on the successful side, though he never makes their success the result of great and exalted emotions. The reader, who is attentive to the genius of his writings, will find this one of their most prominent and characteristic features. It is true he has often to describe English bravery, but with him the bravery of an Englishman is made to arise from physical, that of a Scotchman from mental influences; and we must say he has shewn very great art, in endeavouring to conceal and to preserve, at the same time, this characteristic distinction throughout all his works. The Scottish army is here routed, but their defeat is ascribed rather to an excess, than to a want of bravery. They quarrel with each other for precedence, and the English, taking advantage of their disunion, obtain an easy victory. Halidon Hill has neither incident, character, variety, nor dramatic effect. From the principal character, Sir Allan Swinton, a knight of giant mould, and long experienced in deeds of arms, we are led to expect much; but throughout the piece there is not one single exploit related of him, either by himself or others. Whatever he does in the field is transacted behind the scene, and the imagination is left to form the best picture of it which its fertility of conception can pourtray. Gordon indeed tells us that Swinton smote Selby, and Swinton informs us that Gordon slew stout De Grey, but the particulars of the combat are not described; and all dramatic as well as all poetic interest must arise, not from general descriptions, but from particular images and representations. The time and place that ought to be allotted to them here is, with other ill-timed circumstances, occupied in an idle conversation which took place between Swinton and Gordon, after the first onset. The moment of leisure which was then permitted them would naturally have been employed in relating what they had done, and devising what was next to be done; but instead of this, Gordon, after informing Swinton of his wife's name, (why the communication was made in a whisper we are really stupid enough not to perceive, nor is the mystery afterwards unravelled, a new mode perhaps of creating interest,) descants on her musical powers, vocal as well as instrumental, though he was at the very moment surrounded by an overwhelming army who bore down every thing before them. Was there ever an instance of a commander descanting at such a perilous moment on his wife's qualifications? but what is unnatural in real life, is equally so in description. We could forgive it, however, if it arose from, or mingled with, apprehensions for his own or her personal safety. But of this not a word; so that his praise is evidently out of place, and ought to have given way to reflections of a very different nature. The great physical powers, and long-tried bravery of Swinton, the youthful ardour and ambitious longings after military fame of Gordon, contrasted with the stub. born and haughty spirit of Edward, and the wild heroism and reckless impetuosity of Hotspur, afforded a subject which required a more powerful dramatic genius, and a more vigorous and lively colouring than can be traced in the faint and fading characters and descriptions of the piece before us. Swinton is the only character of whom we can form any thing like a fixed notion. Gordon has no decided character; and as for Percy, we could scarcely recognize in him the shadow of Shakspeare's Hotspur. All the other Dramatis Persona were merely used for the purpose of putting the machine in motion and putting an end to the battle. And as for dramatic effect few readers (a Caledonian only excepted) will feel any interest in the perusal of this sketch from beginning to end. Indeed we should not wonder if many fling the pamphlet from them, when they recollect that for a trifling performance of one hundred and nine pages, loosely printed, they have thrown away six good shillings of British money, for which they could purchase the entire of Pope's poetical works, or, we presume, Campbell's Pleasures of Hope. Apropos, by the by, it would seem that popular authors feel their literary kibes so closely pressed by their less fortunate followers, that the best and only way left them to keep the petty tribe at a more humble distance, is to lay a double price on all their works. We would suppose that three shillings would be an extraordinary price for the work before us, had it come from one of our less presuming dramatists, even though it possessed a double portion of the inerit of Halidon Hill, backed as it is by the renowned name of Sir Walter Scott, Bart. If ever Sir Walter attempt any thing of this kind again; and we sincerely hope, for the sake of the reputation he has already acquired, and the esteem we bear him for the many, many hours of amusement and literary recreation his other works have already afforded us, that he will not; but should he, we beg to recommend him to choose ground and characters of his own, where he will not be afraid to clash with the genius of a Shakspeare. He need not be indebted to others for characters, incidents, or powers of description. He has a power within himself which requires not the accession of extrinsic aid. We repeat it again, Sir Walter Scott deserves a severer chastisement for the defects of this performance than we are willing to bestow. We cannot, however, help expressing our regret that he did not suffer it to fall into that nameless situation for which he at first intended it, namely, " for the purpose of contributing to a miscellany projected by a much esteemed friend." If he had, he would, we will not hesitate to assert, have served his friend more than he has served his own literary reputation. If we are satisfied that Sir Walter Scott is the author of the Scottish Novels, it will be very easy to account for his failure in his present performance. There he had the long space of three volumes to bring his characters to maturity, to give them all a decided feature, to enliven his plot with incidents and scenery, and to exercise, at his own will and leisure, his great descriptive powers-here he was confined to less space than he was ac customed to, and not recollecting his limits, or if recollecting, not possessing the true concentrating powers, so necessary to write a good drama, his characters were as yet in embryo, when he found himself approaching the limits of his drama, and without incidents or variety he was obliged to bring it to a conclusion. In a novel many circumstances, peculiar to a man's character, may be introduced which cannot at all be admitted into a drama; where, for want of room and for the sake of life, energy, and effect, nothing should be seen of any character but the very essence of that peculiarity which distinguishes him from another. A Critical and Analytical Disser. tation on the Names of Persons. By J. H. Brady. London, 1822. There are few persons, however common it may be to deny the imputation, who have not some little portion of the Shandean character about them with regard to names. Surnames indeed are placed by various circumstances almost beyond our countroul; but in the choice of Christian names, no little attention is paid to the respec- What's in a name? He, whom we christen By any meaner name would thrive as well. Yet is it unquestionably true, that we feel instinctively as much reluctance in fixing on an infant a name, whose sound is offensive to our ears or is associated in our minds with any thing paltry or ridiculous, as if we had really been appealed to by Mr. Shandy himself, with all the force of his argumentum ad hominem. We seem to feel the importance of the privilege which we possess of designating an individual, and to prize it as a precious relic of that sovereign power which our ancestor, Adam, exercised over the whole creation. Nor is the value of this privilege a little enhanced by the hereditary nature of our surnames. Our baptismal authority is all which remains to us, and it behoves us to use it with solemnity and discretion. As philosophers, we must acknowledge that this anxiety about a name is a weakness; and in our serious moods, we should treat the whole affair with perfect non-chalance, Yet must we not deny, that we should scarcely have been able at all times to subdue our vexation, if it had been our lot to answer to so disagreeable a name as Nicodemus; or that we should have felt some portion of the embarrassment of Mr. H. in the farcé, if in soliciting a young lady to change her name (Belford or Beauchamp perhaps) for oursakes, we had no better to offer her than Hogsflesh. We have indeed, known instances of persons taking the liberty of altering their surnames, by a variation in their orthography, or by dropping, or cutting off an offensive consonant, or even a whole syllable; and we could amuse our readers with a pleasant tale of mishaps which befel a friend of ours, in consequence of such a transmutation of his personal identity. But we suppress our own good things that we may make room for a few words on those of Mr. Brady. This gentleman is the author of a new translation of "Guzman D'Alfarache," which we reviewed in our number for April, 1821. He has collected, in the present little dissertation, several very useful scraps of information, and thrown out some very ingenious suggestions Et quiz et joax With gravity for graver folks. An Itinerary of Provence and the Rhone, in 1819. By John Hughes, A. M. 8vo, pp. 293. 12s. London, 1822. This work is written in the style of a scholar and a gentleman. The execution of it evinces ability, but which is surpassed by the practical usefulness of its plan. The author does not display that parade of antiquarian or historical research, or the affectation or superabundance of sensibility at the beauties of nature, with which books of this sort are, in general, so nause ously replete. In short, there is nonë of the art of book-making in this vovolume, but all is either useful or agreeable. The reader is carried from Paris to Toulon and Nice, through Rochepor, Avignon, and Nismes; and every thing worthy of his attention at the various places is succinctly pointed out with taste and judgment. The author's descriptions, particularly of the Alps and blue waters of the rapid Rhone, reflecting the lovely scenery of its banks, with the groups of white cattle, are enough to make those lament who are doomed to stay at home-whilst those, who are about to travel in this direction, will find the present volumé a useful companion; and travellers for pleasure, who are indifferent to the route they may take, may be induced to follow Mr. Hughes's steps, not only from the many advantages of the jour ney, but because this work will enable them to avoid imposition and inconvenience; and will, also, enable them, without further research or trouble, to direct their attention to whatever is deserving of notice, or calculated to afford them amusement and delight. There are numerous etchings in the book, some of which appear to us remarkably spirited and happy. Select Passages from the Bible; arranged under distinct heads, for the use of Schools and Families. By Alexander Adam. 12mo. pp. 500. 4s. 6d. This is one of those works for which an author can claim no higher merit than taste in the selection, and judgment in the arrangement; but which, notwithstanding, are of more real use to society than many of those imperishable monuments of genius which have secured the applause and commanded the admiration of mankind. What dazzles is not always what improves: what surprizes is not that, with which we love to hold commerce in our softer and more retired moments. The great business of life is to become wise and virtuous. Wisdom provides for our happiness in this life, virtue in the next. The great advantage which the Bible possesses, over all other works, is, that it enables us to attain these two great objects. Those who imagine that the Bible has no reference to our terrestrial happiness, and that its aim is solely to lift us to the contemplation of that felicity which awaits us hereafter, are greatly deceived. Whoever is guided by the moral and social precepts, which it inculcates, must be happy here as well as hereafter. With respect to those who maintain, that with regard to future happiness, we have no certainty; we have only to reply that, abstracted from the authority of the Bible, we have no certainty of the contrary; and, therefore, the Bible stands upon the same grounds as if the argument had never been advanced. It must, however, be confessed, that the Bible is not only too voluminous for children, but that it contains many things of which they might safely remain ignorant, until they attain a more advanced age. The perusal of the Bible by children is also productive of many other inconveniences, which, we think, are best described in the language of the compiler of the present work." It cannot be introduced into a class with advantage, until it can be read pretty fluently; and owing to the difficulty experienced by the learner, in pronouncing the proper names, it is, generally, among the last books read at school. This is the more to be regretted, as, at this advanced period of their instruction, children are chiefly engaged in prosecuting the subsequent branches of education, and, consequently, can afford but a small portion of their time in school to be employed in reading." To remedy these inconveniences is the object of the present compilation. The author commences with the first chapter in Genesis, and selects from it, and from every chapter in succession, what is not only best adapted to the capacities of youth, but also what is sufficient to make them acquainted with the principal historical events related in the Old Testament, omitting, however," all historical and genealogical registers." The extracts succeed each other, with few exceptions, in the same order in which they stand in the Scripture, so that the work may be considered the Scriptures in miniature. The exceptions, to which we allude, are met with in the Psalms and the Books of the Prophets, "for the purpose of including," as the compiler observes in his preface, "as many as possible of the texts most endearingly interesting to Christians, from their affinity to the precepts of the Gospel, and from their prophetic allusion to the future blessedness of the righteous." To accomplish this view, the passages have been taken from the several books and so arranged, as to produce an unbroken relation or connexion of sentiment. Any further comments on the nature of the work would be superfluous. The author has not interfered with the text, and, consequently, our estimation of this work must be proportionate to our estimation of that from which it is selected. The Conversational Preceptor in French and English, consisting of useful Phrases, arranged under distinct heads, on a new and more simple plan than any hitherto attempted. By J. L. Mabire, to which are added amusing Dialogues, by B. M. Leblanc, pocket size, 6s. 6d. Halfbound. There have been such various plans devised for teaching the French Language, that we are puzzled to know which deserves the preference. Those, who have time and patience to pursue a regular grammatical course of instruction, will infallibly attain a competent knowledge of it, so far as respects reading, writing, and translation; but there are thousands, who merely want a selection of phrases on ordinary topics of general interest, to enable them to ask a few questions, and to answer them. The great advantages of the present work may be described in a few words. The phrases and sentences are judiciously chosen, and carefully arranged under distinct heads for the facility of reference, an ample table of contents has been very properly annexed. The parts of sentences, which are to be filled up according to the wishes or wants of the parties, leave ample scope for the ingenuity of those who may stand in need of such helps to composition. The dialogues at the end of the volume, are well written and amusing. highway-men of after ages.-Really, if the life of every petty marauder is to be honoured with a thick octavo volume, we suppose that a due ratio would give to our military heroes a fearful number of ponderous quartos, and an elaborate life of Wellington or shop of a modern publisher. To be seNapoleon would monopolize the entire rious, these memoirs are so spun out as to of such a character can answer. We defeat every object which the memoirs believe, that in the book-trade, as in Memoirs of the Life and Trial of every other trade, honesty is the best James Mackcoull. 8vo. 8s. 6d. The title of this work seems to us not altogether to accord with the work itself: the book would have been more appropriately named "Memoirs of James Mackcoull, with a long, spunout, and technical report of his Trial, &c." To those, whose minds are not of the discriminative class, but who are fond of coarse and strong stimuli; to those, in short, who pore with delight over the Newgate Calendar, or who read with breathless expectation the adventures of Sixteen String Jack, these memoirs of James Mackcoull will afford considerable entertainment. We should perhaps have said, might have been made to afford; for at present they are so injudiciously spun out as to bar every thing like entertainment from their perusal by the lovers of adventure; and to check their inspection by those, who might wish to resort to the work for example or materials in the science or history of the human mind, There is a most noble art, which was unknown to the ancients as well as to the people of the middle ages-It had its rise, we believe, about the latter end of the last century, and has since reached a height beyond which we imagine it can never soar. Our readers may perhaps by this time guess that we allude to the noble art of book-making, an art which the volume before us seems to have carried to the ne plus ultra of perfection. Here we have the adventures and trial of a highway-man, not of so extraordinary a character but that every metropolis of Europe can, unfortunately, produce about his equal; and when we see the life of such a man spun out to two hundred and eighty-one thickly-printed octavo pages, with an appendix of about forty pages of type, equally condensed, we really, as reviewers, tremble for the fate of literature, and anticipate with terror the bulk, to which some future biographers may carry the memoirs of policy-Now, there is enough in the life of such a man as Mackcoull to make an interesting duodecimo, of about one hundred and fifty, or, at the utmost, two hundred pages; and in the volume before us, the lengthy report of Mackcoull's trial, with the spun-out pros and cons, upon a question, whether the wretch was the perpetrator of a murder which took place at Edinburgh, render the book dull and tedious in the extreme.-Mackcoull is the son of a respectable pocket-book maker of London; but, the mother being a profligate character, the children are badly brought up, and, finally, Mrs. Mackcoull with all her family, assume the varions branches of the trade of robbery. The son, James, goes through the common adventures of a pickpocket and swindler, and exhibits all the opposite traits of cunning, caution, imprudence, generosity, selfishness, and profusion, cowardice, intrepidity, and ferocity which appear to be inherent in those, who exhibit a natural penchant to the course of life of which we are writing. Finally, this James Mackcoull associates with the notorious Huffey White and others, and robs the Glasgow bank of £20,000. He contrives, by the most selfish villany, to cheat his partners in guilt of part of their booty, and to escape the vengeance of the laws. He afterwards has the impudence to buy up bills of the bank with the very notes of which he had robbed the establishment, and those bills being detained by the officers of the bank, he assumes the character of respectability, and brings actions for the recovery of these bills, ingeniously forging a story as well as a correspondence to support his case. This plot leads to his own condemnation, and he dies in the jail of Edinburgh. Such is the outline of a life which the writer has contrived to spin through a thick octavo volume forgetting the saying of a great author, that "a great book is a great evil." |