time, when every Frenchman, who would not kneel to the revolutionary colossus, kneaded with mire and cemented with blood, found it necessary to fly from the furies of Paris. It is written in a familiar style, and, as the author more than once informs us, seems intended only for his children. The two first volumes (now in one) comprise the little anecdotes of his years at school; the acquaintance which he there formed; the history of his various instructors; the societies into which he afterwards became initiated; the secrets of his amours; and the success of his literary labours, &c. &c. Most of the portraits, contained in these memoirs, though professedly of the greatest characters of the eighteenth century, are merely local, and excite but little interest; however pleasing they may be to his children, they are not of sufficient consequence to the world, to occupy so large a part of the work. That of one Hubert, toward the end of the second volume, is of this description; after giving an account of Cramer,' a 'bookseller:' • Hubert had a talent, less useful, but amusing and very curious in its futility. You would have said he had eyes at his finger's ends. With his hands behind his back, he would cut out a profile as like, and even more like, than he could have drawn with a pencil. He had the face of Voltaire so strongly impressed on his imagination, that, absent or present, his scissars represented him meditating, writing, in action, and in all attitudes. I have seen landscapes cut out by him in white paper, where the perspective was preserved by him with prodigious art.' The third and fourth volumes contain some brief sketches of the revolution, its causes,and its consequences; anecdotes of its leaders, their corruption, and intrigue ; together with a variety of facts, now better known, and more circumstantially related by those, who have made it a business to collect and compile them. As the author took no part in the revolution, and mentions only those things, which concern himself, or those, with whom he was acquainted more particularly, nothing is here found,. that can be considered new and interesting; and nothing interesting which, at this time, is new. writes on this subject with all the feelings of a Frenchman, who has escaped the madness of faction, and who is compelled to view the downfall of his country from the recesses of concealment; and on this topick, discoursing to his children, we are willing to look with all indulgence. He Upon the whole, the Memoirs of Marmontel deserve no greater praise than that of being amusing. They contain nothing of much consequence to any class of readers, excepting those, who are fond of fiction and romance; and to these, the style and the matter will meet with friends. edition, with that printed in LonA comparison of the American don in 1805, in four volumes, will be in favour of the former; for though there are many faults not to be found in the original, such as, tolerably severe,' • nascent beauty,' &c.&c. yet these are com mon to both translations. generally be read by very young The type is small, but as it will eyes, this may be no great objec tion. Book IV. is printed Book III.,' lineal is spelt linial,' and 'nature,' in two places, has the final letter omitted. There are several other trifling inaccuracies in the execution, probably arising from the fineness of the letters. The binding is neat, and the paper good. We are pleased to observe, that this work is compressed to the size of two volumes, and should another edition be issued, we think the best part of the matter might be contained in one. ART. 20. The Culex of Virgil; with a translation into English verse, by Lucius M. Sargent.. Parve Culex, pecudum custos, tibi tale merenti, Funeris officium vitæ pro munere reddit. That Virgil wrote a poem cal. led Culex, is indisputable. The authorities, which Mr. S. has quoted, prove this point so fully, "That the probation bears no hinge nor loop To hang a doubt on.' But we could have wished him to shew, whether it has descended to us in such a tolerable state of purity, that Virgil's reputation as a poet is in any degree involved in If Mr. S. has the production. submitted to the drudgery of comparing Heyne's text of this poem, with his marginal notes, and remarked the various readings, the 8vo. pp. 44. Boston, Belcher frequent interpolations, and the & Armstrong. THE first question concerning the Culex is, whether it be Virgil's. In proof of its authenticity Mr. S. has inserted in a note the authorities collected by Heyne, from Suetonius, Statius, and Martial; and has noticed the objection of Ruæus, founded on the comparative meanness of the poem: In answer to this objection, Mr. S. humbly conceives,' that, supposing with Ruxus, his author was twenty-six years of age when he wrote the Culex, he might have written the Bucolicks at the age of thirty, without progressing beyond the gradation of poetical improvement.' We know not on what principles Mr. S. has graduated his scale of poetical progression; but, in ordinary calculations, we should not predict, that the auther of a humble, obscure poem, of doubtful appellation, written at the age of twenty-six, would, at the age of thirty, produce the most polished and captivating pastorals. In making these remarks, we have taken it for granted, that Mr. S. intended to speak of the Culex as the text now stands; for he has said nothing of its genuineness. perpetual corruptions, we think, if at all skeptical in his nature, he must be led to doubt whether this poem can strictly be called the Culex of Virgil. It is a well known tale, concerning the vessel in which Theseus of Athens sailed to Crete, and returned to his country after an unprecedented exploit, that, by continual renovation of its parts, its identity became a question of much sophistical debate. Wheth er the poem under consideration furnish as worthy a topick for the display of dialecticks, is a question that we shall submit to the learning of the schools. We think it would have been proper for Mr. S. to have prefaced the poem, both the original and the translation, with the argument. This he might have found, for the former, furnished to his hand in Heyne's edition, where it is sufficiently full and perspicuous. It would also have been an improvement to have printed the original text and the translation on opposite columns, and to have numbered the lines of each. In remarking on Mr. S.'s transJation of this mutilated, Bucolico Heroick poem, we are disposed to allow him all the indulgence that ever translator claimed. Where, of different readings, the true one was doubtful, he had the right of choosing; and where the reading was obscure, he had the right of guessing. There is, in different parts of this poem, such a mixed mass of mythology and fable, so blended, so obscure in design, and so sudden in transition, that we are not disposed to blame the translator for his occasional freedom in supplying the evident deficiencies of his author, by that which his classical reading has enabled him more fully to express. He has taken a small liberty of this kind in the story of Tantalus, as related by the Gnat, after his visit to the shades: 'Vix ultimus omni Restat, nectareas Divum qui prodidit escas, Gutturis arenti revolutus in omnia sensu.'V. 289, &c. "Here doomed in hell To feel a thirst, he sees the means to quell, Sad Tantalus remains; condemned by Jove, For stealing nectar from the starry grove. The tale of Orpheus Mr. S. has told very much in a manner of his own, without any particular regard to the original. We have noticed, on the other hand, several lacunæ; particularly an allusion to the fable of Phaeton, fv. 126, &c.) Some trifling omissions we observed in passing, which we think not sufficiently important to call for censure or complaint. The general character of this translation is that of a freedom, which we should not approve, were the Culex as perspicuous, as those writings of Virgil, with which we are more familiar. But considering the intrinsick defects of the poem, we are inclined to vindicate Mr. S. from the charge of too great liberty in his manner of rendering it into English, and to grant him the praise of presenting to us a story better told, with more interest, and with more gracefulness, than the materials from which he was obliged to compose it, entitled us to expect. The following extract will serve for an example of Mr. S.'s manner: 'O, bona pastoris !' &c.-V. 57. 'Blest is the shepherd's life! ah, happy swain, Who seeks no joys beyond his native Nor pants for wealth, nor heaves a plain; wishful sigh For all the charms of pageant luxury. For him no joy can Syrian dyes impart, Nor costly bowls, the boast of Alcon's art; that, fam'd in war is not authorised in the text which Mr. S. has used ;. 'cui meritis oritur fiducia chartis." Chartis is undoubtedly the correct reading, and not castris; for it must be remembered, that Cæsar was yet a puer, and had not distinguished himself in the field. Those' and 'these,' followed by 'this' and 'that,' and applied to the shepherd's flock, we mention for the consideration of Mr. S. The 50th line, To mount,' &c. an Alexandrine, which neither closes a paragraph, nor a period. "Where none may go, but those whom Minos doom. We are confident Mr. S. is not reduced to such poverty of language, that he feels it necessary to sacrifice grammatical propriety to an imperious call for a rhyming word. This aid 'tis hard to find, If (whether) chance produced, or fate itself designed.' While we congratulate the publick on this small accession to the specimens of American literature, we cannot but express a wish, that Mr. S. had directed his industry and talents to some undertaking, which would have entitled him to more praise. Should he hereafter invite us to compare his produc tions with the poets of Greece or Rome, we hope they will contain something more interesting, than the death, the infernal peregrinations, and the ghostly, but vocal apparition of a Gnat;-a rare gnat indeed ; Corvo quoque rarior alho." ART. 21. The Salem Collection of Classical Sacred Musick; in three and four parts: consisting of psalm tunes and occasional pieces, selected from the works of the most eminent composers; suited to all the metres in general use. To which is prefixed, an introduction to psalmody. Second edition. Boston, printed by Manning & Loring, for Cushing & Appleton, (Salem.) pp. 136. TO the honour of the literary gentlemen of Salem they were the first to resist an imposition, which was lately attempted to be practised, by some of our southern brethRees' Cyclopædia. In this resist ren, in the republication of Dr. ance we united our exertions, not however from malice, or because we were glad of the occasion; but because it is the duty of good men to be watchful over each other for the general edification. For whoever supposes, that the good men of this world must be perfect, has made but little observation on human nature, and is in danger of losing his charity, which ought never to fail. The good only can bear reproof. The plain language, which they use one towards the other, falls into a rich and healthful soil, and brings forth fruit, sometimes sixty and sometimes a hundred fold. It is only the vain and impertinent coxcomb in lite rature, who cannot bear those faithful rebukes of a friend, which are designed only to heal a diseased, or to strengthen a debilitated frame. We are not content to approve merely, but we must declare our unqualified approbation of the sen timents, which are contained in the preface to this work, and which were likewise prefixed to the former edition. They were written by no common hand; and we recommend them to the frequent perusal of singers, especially of such as are engaged in forming collections of sacred musick. We wish that psalmody was more generally a subject of attention with christians, especially with those to whom nature has given a taste for the delights of harmony, and a voice to aid in its performance. It is a most rational and delightful employment. We soon lose the relish for that species of musick, which is designed only to display the powers of the voice, or the skill of the performer. The sober employments of domestick life too soon banish from the family circle the instruments, which seem almost exclusively devoted to the works of Italian, French, and English masters, whose complicated and artificial pieces are frequently learnt with extreme pain, and too often forgotten without regret. All the time, consumed by the generality of our fashionables in the acquisition of this science, is thus, in a great proportion of the scholars, lost. It is the loss of a most valuable accomplishment, for musick is in itself a language; and we may add, that it is more universally understood by mankind in general, whose nerves vibrate in unison with its selected tones, than any other language among the dialects of the earth. The reason of this loss may be, that in the common songs, glecs, and even in many. of the pieces, which scholars are taught, there is but little to elevate the mind, and to inspire a taste for the science. The greater part is mere tinsel, shining with false lustre for a moment, very costly, but of little value. But the object of psalmody is the praise of our Common Father, in whose praise the highest intelligences are constantly engaged, and with increasing delight. It is almost the only amusement of youth, which never loses its relish in old age. It is a per petual source of consolation,and always enhances the felicity of our purest and most elevated affections. It is the natural expression of gratitude, and none has more reason for gratitude, than the christian, to whom it is permitted, while passing through this scene, to view in perspective the promised land. The cause of the decline of church musick is to be attributed principally to the ignorance of our teachers of the art. In villages, where there are no organs,' says Dr. Miller, the singing-masters may do a great deal; but they have much to forget, and much to learn. Fondly attached to compositions in many parts, and those chiefly composed by unskilful men, abounding in ill-constructed fugues and false harmony, they are apt to treat with contempt the simple, but elegant melodies, used in parish churches; but, would they study the various beauties of expression, the true portamento, or conduct of the voice, free from all nasal sounds or screaming exertions—a proper pronunciation, and the energetick expression of emphatical words; they would soon find, that these despised melodies, when properly performed, with true pronunciation, just intonation, and feeling expression, are as capable of fixing the attention, and affecting the hearts of the congregation, as more elab、 orate musick.'* In most of our churches a set of tunes are sung,in which the congregation cannot join. There appears to us to be as much impropriety in excluding any from a participation in what ought to be a common act, as there would be in reading. *The Psalms of David for the use of parish churches. The words selected from the version of Tate and Brady, by the Rev. George Hay Drummond, the musick selected, adapted, and composed by Edward Miller, Mus. Doct. London price 1246. |
