With this long extract we must now take our leave of Calavar, which we do with increased respect for the talents of the author, and with a settled conviction that it depends only on himself, whether he will rest contented with the imperfect fame he has hitherto atchieved, or rise, by dint of increased exertions, to the station which he might occupy among the loftiest spirits of the day.

FIEL A LA MUERTE. The sentiment is a sweet one, and makes a pretty impression upon a seal. Of its truth I say nothing. It has been often versified and celebrated, and somewhere in the writings of Hammond, styled by a liberal courtesy, the English Tibullus-it is woven into a long poem of feeble sweetness. The following is after the Spanish, and is exceedingly delicate :

Oh! faithful to the grave, my latest breath

Shall urge the vow I make thee, pure and strong;

I shall be faithful to the hour of death,

But shall not, dearest love, be faithful long.

That happy hour of freedom still I crave,

Since unrequited love I would not bear

Thou hast no mercy for the kneeling slave,

Thou keep'st the victim, yet thou scorn'st his prayer.

An Irish officer of dragoons, I met with near Brussels in 18—, had a different paraphrase quite from the preceding. He furnished his mistress with the following, which soon gave him the discharge he wanted: "Faithful to death!"-Ay, ay, with all my heart,

Have I not faithful thus forever been

Here, Mrs. Jones, be witness on my part :-
But 'tis your death, and not my own, I mean.

MATERIAL OF NATIONAL POWER.

Lord Bacon hath the secret of national prosperity in a brief compass. He says, "there are three things which one nation selleth to another:-the commodity as it is yielded by nature, the manufacture, and the vecture or carriage; so-says he—if the three wheels go, wealth will flow in as a spring tide." We sum the matter briefly in the much used toast of "agriculture, commerce, and manufactures;" a triad honored with the rhyme of another ancient, thus: "Let the earth have cultivation,

Let its product have creation,
Let the seas give circulation,

And you build the mighty nation."

SCRAPS FROM THE BOOK OF A PHYSIOGNOMIST.

In this article it would be foreign to our purpose to enter into the history of physiognomy, or a review of the causes which, in our day, have made it unpopular. All we intend at present, is merely to give a few scraps from our book. We shall premise that Aristotle-the first philosopher we read of, as Good says, who reduced physiognomy to any thing like a scientific pursuit, and fixed it upon permanent and undeniable principles, gives this definition: "It is the science, by which the dispositions of mankind are discovered by the features of the body, and especially those of the countenance."

To a certain extent, we are all physiognomists by nature. Why do we love and hate? why are we kind or cold to a stranger? The features of the face, and their expression, influence us.

Not two men are exactly alike, it is said, in temper and disposition: granted. Are any two men exactly similar in mind and feeling? Had all men the same mental, moral, and physical attributes, they could not be distinguished apart.

Does not the very nature of the boy change in the man? Is not the face very dissimilar to that of the man?

When we are agitated, or even slightly affected, is not each change of passion written on the face? Is not the voice affected by every feeling of the heart? The voices of any two men are not more dissimilar than their physiognomies. The voice is an index, by which we may judge of the individual. There are few persons who cannot distinguish, even in the dark, the voice of man from that of woman-of a white from that of a black.

Many people, who never gave a serious thought to physiognomy, deny its truth, either because it does not please their whim, or because it does not harmonize with their pre-conceived ideas; such are unworthy to weigh against it. Others who have examined the subject superficially rail against it, because they see every day, in their opinion, so many inconsistencies, that their judgment is bewildered, and they become sceptics. To those we answer; it is not that the science is false, but, either you have not mind to observe and comprehend, or not patience to examine and compare; all that seems inconsistency is not so. That there are not two faces alike, and that there seem so many contradictions, prove how deep and difficult is the study, not by any means that physiognomy is false. Writers disagree as to which feature of the face is the most expressive. Le Brun gives preference to the eyebrows; others to the mouth, many to

the eyes, and some to the nose. Though the eyes may be called the thermometer of the heart, indicating the degree of feeling which agitates or soothes it, yet, in our opinion, the nose, above all other features indicates the man. A good nose never supported a bad forehead. Noses may be divided into four classes-thus:

GRECIAN, denoting amiability of disposition, equanimity of temper, imagination, patience in labor, and resignation in tribulation.

PUG,

imperiousness, courage, presence of mind, choler, and nobleness of heart.

cunning, deceit, revenge, obstinacy, and selfish

ness.

imbecility of mind, and indecision of character.

Of three of these, there are innumerable grades-the Grecian descends to the Pug-the Roman to the Aquiline-but the Cat or Tiger is sui generis.

The Grecian nose is most conspicuous in quiet scenes of life-in the study. The Roman, in spirit-stirring scenes-in war. Men of science often, and of imagination always, have the Grecian nose; daring soldiers and fearless adventurers generally have the Roman.

By a Grecian nose, we do not mean that only which unites, as it were, to the forehead by a straight line-it may be slightly or greatly indented between the eyes-as in that of Homer. The Homeric is, we shall suppose, the true poetic. Look on all great living poets, or turn to the portraits of those who are dead-as of Chaucer, Spenser, Shakspeare, and Milton-all will be found of that genus. It is said Southey has a Roman nose; if this be so, it is the only exception among, we may say, thousands of portraits in every age and of every clime, that we have examined.

A sceptic may ask if all poets have the Homeric or Grecian nose, are not all persons having it consequently poets? We answer flatly, No: not writing poets. But, all persons having the Grecian, or poetic nose have the poetry of thought and feeling-look on nature with the eye of a poet, and possess that enthusiasm, which none but a poet feels. No sense is perfect of itself alone: the clock may strike, a cannon may be fired close to our ear, and we hear neither; yet the sound of both strikes equally upon the tympanum, as if we did hear. The Homeric nose denotes imagination; to complete the poet another quality is necessary-language, denoted by another feature, which, however, we shall leave unnoticed in this branch of our subject. We conclude this scrap with the following appropriate quotation from Percival-a poet, we are sorry to say, too much neglected:

"Hence there may have been

POETS, who never framed a show of words
From out the busy workings of the brain,
And who, in solitude and loneliness,
Communed with all sublimity, and played
With every shape of beauty, and never yet

Put forth one visible sign to tell the world
How much they felt and knew."

Every one knows what a Pug is. We need not enter into any particulars of it-nature forms her thousands of them, and we regard them not.

The CAT or TIGER nose. Whoever has the least imagination will readily conceive what we mean by this definition; it is a long, flattish nose, not unlike that of the animals from whom we have borrowed the name. Avoid men with such noses-they are deceitful friends and dangerous enemies, whenever it suits their whim or interest.

As it would be difficult for the reader to understand the subject of foreheads without drawings, we shall for the present omit any scraps from our book on that subject: this remark, however, we will venture; it is not the dimensions of a brow that marks its quality. Lavater justly says to this effect a large house may be a very inconvenient one for want of sufficient and proper furniture, while a small one may be very tastefully and neatly arranged. It is a mistaken idea with some, that mind is in the ratio of size.

We have asserted, that, if two people could be found exactly alike in every feature, their voices would be similar in tone. The more like the physiognomy, the more like the voice. Do we not sometimes find twins, who, for years after birth so nearly resemble one another that the parents cannot distinguish them apart, and consequently are obliged to distinguish them by some mark of dress? This evidently shows that their voices are alike, else by the voice alone might they be distinguished. Does it not also prove that in temper and disposition they are similar? Were it not so, would not the parents be able to distinguish them by some mental or moral trait? We know a case in point:-Twins, brothers, naughty little fellows, when three or four years of age resembled each other so exactly, that the parents knew not which was which; both were getting into continual scrapes; and, principally for the purpose of punishing the transgressor, a red ribbon was bound round the arm of one, and a blue round that of the other. The little fellows entered into an alliance, offensive and defensive. If Red Ribbon committed an offence for which he expected punishment, he ran to Blue Ribbon, and exchanged the distinguishing badge. Information being lodged with the parents, Red Ribbon stoutly denied the charge, and proved an alibi. We need not pursue this subject in detail; enough to say in conclusion, the twins, by this stratagem, escaped many a well-merited castigation; and many a servant lost his place, for bearing false witness against the innocent child. In later years, they revolved in different orbits: Red Ribbon became a soldier, and Blue, a merchant. The first, after enduring the fatigue and danger of many a hard campaign, returned with his regiment, unchanged, save that his face, by exposure to a strange climate, had become of a very dark hue. The mad pranks of the boys were not quite forgotten in the men. One day it was agreed between them, that Blue Ribbon should assume the soldier's garb and enter the mess-room, while Red Ribbon, in citizen's dress, should remain within ear-shot, to enjoy the sport. Blue Ribbon took his seat at the table,—all

matter?"

eyes were instantly fixed on him. "Captain," asked one, "what's the "Are you sick?" inquired a second. "How pale you look!" exclaimed a third. Blue Ribbon assured his messmates that he never was better in all his life, and would prove it to them by the keenness of his appetite. After a time, however, being more accustomed to times of peace than scenes of war, he was often at fault in conversation, till at last some of the slang du corps, which he could not understand, set his associates a staring, when, at the critical moment, in comes Red Ribbon, the real Captain, laughing, and explained the joke to the whole table. Here were twins, who, neither in youth nor manhood, could be distinguished apart by features, voice, or manner.

The ears are always placed parallel with the forehead. Few natural physiognomists, perhaps, have ever paid much attention to the ears, yet they are features in which we read much of the character: they are as various in form as any other feature. By analogy, we every day learn lessons in physiognomy. Look at the trumpet ear of the hare, which shows timidity. Look at that noble animal, the horse; by his ears every skillful rider knows whether he be bold or timid-not so much, perhaps, by their shape, as by the manner he carries them. The bold spirited blood horse puts his ear forward to catch the sounds approaching, and feels eager to confront whatever danger threatens. The common dray throws his upon his neck, listening for every sound of danger approaching from behind, always prepared to run from it. We will not, at present, make extracts from our chapter on ears, but let our readers reason from analogy, and they will find much character in the ears.

It may be remarked as a very general rule that, if one form of feature denotes a certain quality of mind or disposition, the reverse denotes an opposite quality. A proud man holds his head erect, an humble bends his down: an impudent man stares full in his neighbor's face, a bashful droops his eyes. A Roman nose shows nobleness and valor; a cat or tiger, eraftiness and deceitfulness.

In the mouth, the animal passions are nearly all displayed. A firm and well-set upper lip, and, measured from the base of the nose, not long, denotes resolution and decision; a lagre, thick, and upturned one, indecision and irresolution. When the upper lip, in its centre, falls, as it were, like a drop into the under, we generally find the person patient and resigned under any situation. An under lip, well rounded, yet firm, denotes mirth, gaiety, and fondness for society: an out-turned one, a callous heart, a misanthropic feeling. A small under lip, that rests, as it were, sweetly beneath the upper, shows constancy in love, and firmness in friendship. On the contrary, a large under lip, that protrudes from the upper, denotes selfishness, and we have found it in men incapable of noble or generous feelings men with such a lip, however, will profess much, but perform little. Small lips, so small that, when the mouth is closed, there seems