Читать книгу: «The Mirror of Literature, Amusement, and Instruction. Volume 20, No. 558, July 21, 1832», страница 5
NOTES OF A READER
ATLAS OF THE BIBLE
The Biblical Series of the Family Cabinet Atlas has just been completed with the Sixth Part, containing the Title-page, Contents, Preface, Plans of Jerusalem, the Temple, and Maps of Palestine, according to Josephus and the Apocrypha. These occupy seven plates, all exquisitely engraved on steel. There is, moreover, a letter-press Index of reference to the places in the Maps, printed on fine plate paper, and occupying 120 pages. Or, this portion rather deserves the distinctive title adopted by the editors, viz. "A New General Index, exhibiting, at one view, all that is geographically and historically interesting in the Holy Scriptures." It presents such a digest as we rarely witness, and to give the reader some idea of its laborious preparation, we select a specimen, the matter being arranged in a tabular or columnar form, thus:
Scriptural Name—JEZREAL, Valley, or Plain.
Classic Name—Esdraelon.
Tribe—Issachar.
Country—Canaan.
Scriptural Reference—Judges, vi. 33.
No. of Map.—ix.
Modern Name—Merdj—Ibn Aamer.
Distance and bearing from Jerusalem—40 N.b.E.
Lat. North—32.27.
Long. East—35.25.
Quarter—Asia.
Country—Palestine.
Province—Akka.
Remarks—Here the spirit of the Lord descended upon Gideon, and here the Lord gave him the sign he required by causing the fleece to be wet or dry at his bidding.
The projector and artist is Mr. Thomas Starling, and its execution, whether graphic or literary, is calculated to give the public a very high opinion of his taste, talent, and application.
GEOGRAPHY
Mr. Dowling, of Woodstock Boarding-School, has put Goldsmith's Grammar of Geography into question and answer for junior pupils, or, rather, he has seized on the simplest part of the information contained in the above work, and added a chapter on latitude and longitude. We hope the attention of teachers will be directed to his Compendium, as it appears to leave nothing to be desired in facilitating the progress of the learner.
OUTLINES OF KNOWLEDGE
Mr. Ince, whose Outline of English History we noticed a few weeks since, has been stimulated to the production of an Outline of General Knowledge. His present Compendium is satisfactory as a little book of Facts, and may serve as well for a whet to the memory of adults as for the tuition of children.
CURIOSITIES OF PHRENOLOGY
The Third Edition of a Catechism of Phrenology, published at Glasgow, induces us to pick out a few of the author's facts, and we accordingly select the developements of the Feelings and Faculties. Thus, of Amativeness, the organs are very large in the casts of Mitchell, Dean, and Raphael. In Dr. Hette, very small.
Philoprogenitiveness, or love of children—the Hindoos, Negroes, and Charibs.
Combativeness—The Charibs, King Robert Bruce, General Wurmser, David Haggart, and generally in those who have murdered from the impulse of the moment.
Destructiveness—In the heads of Dean, Thurtell, King Robert Bruce, Bellingham, in cool and deliberate murderers, and in persons who delight in cruelty, where the organ is large; and, in general, in the Hindoos, small.
Combinativeness—In Raphael, Michael Angelo, Brunel, Haydon, and Herschel, where it is very fully developed; the New Hollanders, have it small. Being indispensable to the talent for works of art of every description, it is found large in all those painters, sculptors, mechanicians, and architects, who have distinguished themselves in their particular departments.
Love of Approbation—In King Robert Bruce, Dr. Hette, Clara Fisher, and the American Indians, where it is large. Such likewise is uniformly the case in bashful individuals; this disposition arises in a great measure from a fear of incurring disapprobation.
Cautiousness—In the Hindoos, large; in Bellingham, moderate. Robert Bruce and Hannibal were remarkable for valour, while they at the same time, possessed cautiousness in a high degree.
Benevolence—In Henri Quatre, where it is large. In Bellingham, Griffiths, and the Charibs, very small. In King Robert Bruce, moderate.
Veneration—An individual may have this organ very large, without possessing a high degree of religious feeling. Voltaire, in whom the organ was extraordinarily large, affords a striking example of this. He embraced every opportunity of turning religion into ridicule; but still, in him, we find the strong manifestation of the faculty, in the high and almost servile degree of deference which he paid to superiors in rank and authority. In Raphael, Bruce, and the Negroes, this organ is large. In Dr. Hette, small.
Firmness—In King Robert Bruce and the American Indians, large.
Hope—In Raphael, large; in Dr. Hette, small.
Ideality—In Milton, Shakspeare, Raphael, Wordsworth, Haydon, and Byron, large. In Mr. Hume and Bellingham, small.
Wit—According to Dr. Spurzheim, the formation of this faculty is to give rise to the feeling of the ludicrous, creating, when strong, an almost irresistible disposition to view every object in that light, while Dr. Gall defines it to be the predominant intellectual feature in Rabelais, Cervantes, Boileau, Swift, Sterne, and Voltaire. In Sterne, Voltaire, and Henri Quatre, this organ is large. In Sir J.E. Smith, Mr. Hume, and the Hindoos, small.
Imitation—In Raphael, Clara Fisher, and uniformly in those artists and players who have distinguished themselves for their imitative powers, large.
Individuality—In the French, generally large; moderate in the English, and in the Scotch, small.
Form—To judge of form in general. The function of this faculty is essential to those engaged in the imitative arts: it enables the painter to distinguish the different casts of features and countenances in general; and upon the same principle, is of the most essential service to the mineralogist. The organ is found large in King George III., and in the Chinese sculls.
Weight or resistance, essential to a genius for mechanics, enabling the individual to judge of momentum and resistance in that branch of science. The organ is large in Brunel and Sir Isaac Newton.
Colouring—remarkably developed in the portraits of Reubens, Rembrandt, Titian, Salvator Rosa, and Claude Lorraine, where its large size is indicated by the arched appearance of the eyebrow in its situation; and in the masks of the late Sir Henry Raeburn, Wilkie, and Haydon, by the projection forwards of the eyebrow at that part.
Locality—or the power of remembering localities, in Kepler, Galileo, Newton, Tycho, Descartes, Sir Walter Scott, and Captain Cook, is large.
Number, or a talent for calculation—in the portraits of Euler, Kepler, Laplace, Gassendi, &c., and in George Bidder, Humboldt, and Colburn, large.
Tune—In Gluck, where it has a pyramidal form. In Mozart, Viotti, Turnsteg, Dussek, and Crescenti, where it is distinguished by a fullness and roundness of the lateral parts of the forehead.
Language—in Sir J.E. Smith, Humboldt, and Voltaire, large.
Comparison—in Pitt, Roscoe, Raphael, Burke, John Bunyan, and Mr. Hume.
Casualty, or the connexion between cause and effect—remarkable in the portraits and busts of Bacon, Kant, Locke, Voltaire, Dr. Thomas Brown; and in the masks of Haydon, Brunel, Burke, Franklin, and Wilkie, where it is largely developed. In Pitt, and Sir J.E. Smith, it is moderate, and in the Charibs and New Hollanders, very deficient.
SONGS BY BARRY CORNWALL
PAST TIMES
Old Acquaintance, shall the nights
You and I once talked together,
Be forgot like common things,—
Like some dreary night that brings
Naught save foul weather?
We were young, when you and I
Talked of golden things together,—
Of love and rhyme, of books and men:
Ah! our hearts were buoyant then
As the wild-goose feather!
Twenty years have fled, we know,
Bringing care and changing weather;
But hath th' heart no backward flights,
That we again may see those nights,
And laugh together?
Jove's eagle, soaring to the sun,
Renews the past year's mouldering feather:
Ah, why not you and I, then, soar
From age to youth,—and dream once more
Long nights together.
THE STRANGER
A stranger came to a rich man's door.
And smiled on his mighty feast;
And away his brightest child he bore,
And laid her toward the East.
He came next spring, with a smile as gay,
(At the time the East wind blows,)
And another bright creature he led away,
With a cheek like a burning rose.
And he came once more, when the spring was blue,
And whispered the last to rest,
And bore her away,—yet nobody knew
The name of the fearful guest!
Next year, there was none but the rich man left,—
Left alone in his pride and pain,
Who called on the stranger, like one bereft,
And sought through the land,—in vain!
He came not: he never was heard nor seen
Again; (so the story saith;)
But, wherever his terrible smile had been,
Men shuddered, and talked of—Death!
THE QUADROON
Say they that all beauty lies
In the paler maiden's hue?
Say they that all softness flies,
Save from the eyes of April blue?
Arise then, like a night in June,
Beautiful Quadroon!
Come,—all dark and bright, as skies
With the tender starlight hung!
Loose the love from out thine eyes!
Loose the angel from thy tongue!
Let them hear heaven's own sweet tune,
Beautiful Quadroon!
Tell them—Beauty (born above)
From no shade nor hue doth fly:
All she asks is mind, is love:
And both upon thine aspect lie,—
Like the light upon the moon,
Beautiful Quadroon.
THE PAST
This common field, this little brook—
What is there hidden in these two,
That I so often on them look,
Oftener than on the heavens blue?
No beauty lies upon the field;
Small music doth the river yield;
And yet I look and look again,
With something of a pleasant pain.
'Tis thirty—can't be thirty years,
Since last I stood upon this plank.
Which o'er the brook its figure rears,
And watch'd the pebbles as they sank?
How white the stream! I still remember
Its margin glassed by hoar December,
And how the sun fell on the snow:
Ah! can it be so long ago?
It cometh back;—so blithe, so bright,
It hurries to my eager ken.
As though but one short winter's night
Had darkened o'er the world since then.
It is the same clear dazzling scene;—
Perhaps the grass is scarce as green;
Perhaps the river's troubled voice
Doth not so plainly say—"Rejoice."
Yet Nature surely never ranges,
Ne'er quits her gay and flowery crown;—
But, ever joyful, merely changes
The primrose for the thistle-down.
'Tis we alone who, waxing old,
Look on her with an aspect cold,
Dissolve her in our burning tears,
Or clothe her with the mists of years!
Then, why should not the grass be green?
And why should not the river's song
Be merry,—as they both have been
When I was here an urchin strong?
Ah, true—too true! I see the sun
Through thirty winter years hath run.
For grave eyes, mirrored in the brook,
Usurp the urchin's laughing look!
So be it! I have lost,—and won!
For, once, the past was poor to me,—
The future dim: and though the sun
Shed life and strength, and I was free,
I felt not—knew no grateful pleasure:
All seemed but as the common measure:
But NOW—the experienced spirit old
Turns all the leaden past to gold.
