spread them through the universe. By this is hastened the regeneration and new progress of the arts; and to this great invention is given to say even to Barbarism, "Thou shalt never revive!" -to injustice, which heretofore could scarcely be denounced but to future times, "From this moment of thy crime thou hearest thy sentence pronounced to all the world!"—and to the man fraught | with truth," Speak, and the whole earth shall hear thy voice!"

ceived from those indefatigable scholars, who kept their watch amongst parchment, and buried themselves alive with the dead.

from darkness, again clothed as when living, like those fine statues which, buried for ages amidst the wrecks of earthquakes and volcanos, seem, when reproduced to day, to spring all new from the hands of the artist. Hence that species of idolatry which she at first inspired. The learned and commentators then formed a new set of bigots; and the age that immediately followed, by another excess, deemed it ridiculous. But the well-informed and The first works of the press were equitable still acknowledge with pleas dictated by the Latin Muses, who has-ure the essential services we have retened to respire the air of their ancient country; and it was just that Italy should be the scene of the happy revolution. It extended to every depart. ment of science, thanks to the benigaant influence of the House of Medici, who, all-powerful at Florence and Rome, there received the arts banished from Constantinople by the Ottoman arms, and the fall of that phantom of the Greek empire, reduced long before to the walls of Byzantium. The Medici had the glory to distinguish by their name, ever dear to letters and the arts, that great epoch of the sixteenth century, the first which in poetry has been the rival of the Augustan age; in sculpture and architecture has retraced those fine forms, elegant proportions, that native expression, those simple and majestic designs, till then known only to the Greeks, and the Romans their imitators; and in painting has completed the idea of the beautiful, and left the invariable model of perfection.

Let us not reproach them with an extravagant passion for the object of their labours, since this passion was itself necessary to their constancy under such an enterprize : let us not complain that they have loaded their commentaries with a minute and sometimes unnecessary erudition, since we are but too happy that they have left to our researches only the embarrassment of choice! They have at times lost themselves in obscure and sterile paths; but they were also the first to open and clear the great road on which we now proceed with such facility. They might with a waste of suffering heap up some useless materials; but they were the persons who cultivated the field where we at ease gather the fruit. This friv olous and presumptuous age cannot be

too often told that there is no merit in

Like foolish and prodigal heirs they scornfully suffer to moulder in their hands immense treasures obscurely amassed by eager and industrious forefathers.

The magnificence and the taste of despising all things, but that there is the Medici fostered that crowd of tal-much indeed in profiting of every thing. ents which now sprang up in every quar. ter. Italy was filled with those innumerable examples of the finest painting which continue to draw foreigners from all the polished parts of the world, and which are shewn with a national pride Such were not Ariosto and Tasso, that has passed even into that rank of both of whom, versed in the ancient the people who in every other country language of Rome sufficiently to write are strangers to the arts. The Medici,it with success, preferred the then and particularly the famous pontiff of greater labour of illustrating that of Rome Leo X., caused every library to modern Italy, in which they still hold be searched for the manuscripts of the the highest rank. It is well known ancients, and these the press repro- that Italy is to this day divided respectduced, enriched with learned and in- ing the superiority of Tasso or Ariosta, structive comments. At that auspi- as the French contend respecting Corcious moment was entirely removed the neille and Racine, and the learned have thick and pernicious veil which a long-long disputed concerning Demosthenes continued barbarism had spread over and Cicero; but we pass that topic till the beauties of Antiquity. She arose we come to speak particularly of foreign

literature, our object here being only to name those great men as among the number whose glory is that of their country, and as two writers who gave to the Italian language all the grace and force of which it is susceptible.

At this epoch it was that the flexible language required its various capacities, and assumed all its titles to the

regard of posterity. The author of Pastor Fido disputed with that of Aminta the palm of the pastoral drama; Guichardini attained all the dignity of history; Fira-Paoli defended the liberty and constitution of his country with the pen and courage of a citizen against the ambitious politics of the Roman pontiff.

read all it contained, he commanded
his bramins to make extracts from
it, for his use, of whatever they
judged most valuable, in every

branch of literature. The doctors
immediately undertook to form such
an abridgement; and after twenty
years labour, composed from their
several collections, a small Ency-
clopodea, consisting of twelve thou-
sand volumes, which thirty camels
could scarcely carry; they had the
honour to present this to the King,
but were astonished, to hear him
say, "That he would not read a
work, that was a load for thirty
camels." They then reduced their
extracts, so that they might be car-
ried by fifteen; afterwards, by ten ;.
and then by four; and then by two
dromedaries-At last, no
books were left than were sufficient
to load a mule of ordinary strength.
Unfortunately, Dabschelim had

more

Machiaval has acquired a celebrity which is to be deplored, by his book intitled The Prince, which is nothing less than the theory of successful crimes and the code of tyranny, although some have gratuitously justified the design and object from one of the dreams of Amelot de la Houssaye, who supposed he had discovered that Machiaval had assumed the garb of crime only to inspire a horror for it. To read his work is sufficient to be convinced, that, nat-grown old, while his library was aurally influenced with the Italian policy bridging, and did not expect to live of his day, which was nothing less than long enough to read to the end, this perfidy and selfishness, he employed all master-piece of learning. The sage his genius and talents to reduce to a Pilpai, his vizier, therefore thus adsystem the baseness he beheld prac-dresses him :— tised every day. He belongs, nevertheless, to the epoch of which I am Though I have had imperfect speaking, by his comedy of Mandro-knowledge of the library of your sub-gora, which had great success. Imper-lime majesty; yet I can make a kind fect as this piece is, it gave the first idea of analysis, of what it contains, very of comic dialogue and intrigue, as the short, but extremely careful; yet, Sophonison of Trissin was the first tragedy composed according to the rules it will afford you sufficient matter of Aristotle. But these essays, although for meditation during your whole worthy of our esteem, remained sterile life." attempts; and the dramatic art contained in its infancy among those very Italians who in every other of the fine-arts were the preceptors of nations.

[To be concluded next week.]

LEARNING-A MORAL TALE.

Dabschelin, King of the Indies, possessed a library so large, that it

At the same time, the vizier took the leaf of a palm-tree, and wrote on it, with a peneil of gold, the four following maxims :

1st. In the greater part of science, there is only this single word, perhaps, in all history, but these phrases:

They were born; they were

required a hundred bramins to re-wretched; and they died. vise, and to keep it in order; and a

2nd. Take pleasure in nothing,

thousand dromidaries to carry the which is not commendable; and books. As he had no intention to levery thing, which you take a pleas

ure in.

Think nothing, but what is true; and do not utter all you think.

3d. Oh! ye Kings; subdue your passions; reign over yourselves; and you will consider the government of the world, only as recreation.

does no good; that is, there is no ne cessity for her interference-Angela would naturally have stabbed Osmond and herself; or Percy had she waited a of her own accord, to save her father few moments would have settled the business in a trice.

Of invention, Mr. Lewis, can claim but a small share. The dream of Os

4th. Oh, ye Kings! Oh, ye Na- mond, is nearly allied to those of Richard and Clarence; Reginald's sixteen tions! listen to a truth, ye can nev-years imprisonment is apparently det er hear too often, and which soph-ved from the Robbers, and in truth the ists pretend to doubt. familiar use of sacred expressions, as well as the atheism of Osmond, speak forcibly, the intimacy of the author

There is no happiness, without virtue; and no virtue, without the

Without denying to Mr. Lewis the praise due to genius and learning, we still think the play of the Castle Spectre by no means remarkable for accuracy in the one, or originality in the other. The story is meant to be a romance; but it is incongruous.

The introduction of

with German literature.

That his characters are not original,
he confesses himself, Motley, Father
Phillip and Alice, are all drawn from
Shakespeare.

"Next chusing from great Shakes-
peare's comic school,
The gossip crone, gross friar, and gibing
fool," &c.

Some of the thought also, seems borrowed from Shakespeare, Young, and other eminent writers.

But notwithstanding all the defects, the play as a composition stands very elevated and harmonious; the plot is high. The language is characteristic, naturally conceived, its complexity is not forced, and its developement is gradual and regular. The incidents that occur for the most part, have a mamoral intention of the author, crowns. terial connection with the fable; and the

the whole.

His endeavours are

woe."

the negroes is a violation of chronology, at the same time that it ruins the simplicity of the romance; if Mr. Lewis wished to have attacked the slave trade, he should not have retired so far into" To lay the exulting villian's bosom bare,. the gloom of Gothic barbarity. The And by the torments of his conscience skew spectre, is superfluous it is conjured That prosperous vice, is but triumphantup for no adequate. purpose. Nothing is done by means of it, which could not As the Castle Spectre was brought as well be done without its agency. forward this evening, for the purpose Kenrick had told Angela before she of introducing a gentleman in the part saw it, her relationship to Osmond, of of Osmond, who had never before ap his perfidy, and her father's existence peared on the stage, we shall content As has before been observed, our ac- ourselves with but few remarks on the quaintance with the spectre is about as performance. The part of Osmond is important as the shake of Lord Bur- laborious, and difficult of execution; ligh's head in the critic. The spectre ap- and it would not be surprising if a failproaches Angela seems to invoke a blessing ure should be the consequence of the upon her, and retires to the oratory!!" undertaking. But this gentleman has Lord Burleigh rises from his seat-ad-requisites which cultivation would renvances-ruminates profoundly-shakes der useful to the stage. His person is his head-and exit in a huff. At her sec- tall, and shapely; his face expressive end appearance, the ghost of Evelina though not commanding; and his voice

strong and shrill, without great melo-one character, or principal part; the reflections, deep, sublime, and forcible, are drawn from one month, without any of the blustering heroism, fulsome declamation, or feminine sensibility, which make up the composition of modern tragedy. The variety, which Dr. Johnson so much extols in this. piece, is mostly exemplified in Hamlet himself; so that an analysis of his character will convey a tolerable notion of the whole production. The event on which the interest is founded, is single and alone; and to the effects of it all the action is made subservient. In the discussion of this character, we shall compare Mr. Cooper's represen

dv or cadence. This last defect, seems rather the result of want of usage in the Theatre and perhaps from too frequens exertion in preparation. His action is frequently impressive, but is generally redundant, and sometimes ungraceful. The habit of nearly cov ering his face with his arms, prevents the expression of his countenance from being observed, and is also uncouth and unpleasing. The clenched fist too, was not learned of the graces. Another defect of action is a continual shifting of his position; and performing to the audience rather than to himself, or person on the stage with him. In pronunciation he wants fulness, and rotation, with our conception of the tundity; at present he clips the sound of his words. These observations are friendly; because the deficiencies they suggest are easily remedied-Yet many of them we can conceive were the effect of the agitation of a first appear

ance.

meaning of Shakespeare; beginning with the ayowal, that we have seen him perform with more spirit, though not with more discrimination, in the first acts; and with more judgment as well as force in the last.

The predominant characteristics of In respect to his conception of the Hamlet, are nice susceptibility and ircharacter, we shall offer a few remarks. resolution.. His susceptibility shews. We considered many passages utter-itself conspicuously in the first act, ed with a just apprehension of the au- wherein grief for his father's death, in-. thor, and others again were delivered dignation at his mother's marriage, and in an unmeaning tone. It would be aversion to his uncle-father, are the endless to point out his verbal defects. principal springs of his action. How. But generally, the interview with Per-far Mr. Cooper conceived it in this way cy in the prison room, and the scene with Angela in her chamber, were the best performed; and the description of the dream, and the first scene and soliloquy, were the worst. We think if this gentleman would apply himself to study (if he means to assume acting as a profession) he would in a short time become a respectable and perhaps. a great actor.

Mrs. Powell in Angela, appeared very respectable; not to say improved. Her costume was elegant, and in her first scene particularly, she afforded much satisfaction.

Hamlet (Shakespeare) and the
Wednesday. Jan. 21.

we will examine it in detail. In his. first appearance he was evidently by his countenance and attitude, the character he assumed; he was pensive, and: now and then a stolen glance of aver-. sion to his company could be discover-. ed. When he spoke he shewed his displeasure in the same manner :"A little more than kin, and less than kind." The emphasis of the following lines, we think was erroneous :

"Tis not alone my inky cloak, good. mother, &c.

"That can denote me truly." In this speech Hamlet in vindicating his own grief, obliquely inveighs Purse.gainst the Queen for her conduct, contrasted with his. Hence "inky cloak”There is no production of Shake- and "denote me truly," would be the speare, which has been more univer most proper distinctions. Nor does it sally applauded than the play of Ham- appear necessary that the line "For let. And it may not be useless to in-they are actions which a man might play," quire by what peculiarity of excellence should be spoken as if aside. There is. it has so long sustained the disadvan-no reason that Gertrude should not tages of multiplied repetitions, and hear it; on the contrary, it enforces gathered strength by time. This play, her hypocrisy. according to Lord Shaftsbury, has but

This conversation with the Queen

raises all his feelings into open violence, and in the ensuing soliloquy, violent grief, affection for his father, indignation against his mother's marriage, and hatred of his uncle, by turns occupy his mind. The first burst of grief was finely expressed by Mr. Cooper: "Oh! that this too, too solid flesh would melt," &c.-but in the succeeding passages, though he evinced some new traces of discernment, he did not give the picture sufficient life.

Cooper was completely excellent. the next act, the irresolution of Hamlet is conspicuous, as well as his feigned madness.

(To be concluded in our next.)

FOR THE EMERALD.

DESULTORY SELECTIONS.
AND ORIGINAL REMARKS.

THE RULING CHARACTER.

We are not among those who consider that the theatrical manner of What Pope has termed the ruling pa taking off the hat at the first appear-sion is in several instances a character ance of the ghost, with the arm stretch- formed by long habit. Thus his dying ed back, is either natural or judicious. | courtier who cries, "If where I amgoHorror rather contracts than extends ing I can serve you sirs, &c. This al the muscles. It is a just observation, ways appeared quite hyperbolical unthat as the time for the ghost's appear-til the appearance of the following ste ance approaches, the agitation of Ham-ry which is gravely stated as fact in the let may be supposed to increase. And saint Everemondiana. the best exemplification of such agita- Cardinal Mazarin on his death bed tion, is locomotion, or passing to and requested an interview with the young fro upon the stage. Mr. Cooper did king Louis XIV in which he assured not conceive it in this way; he appear-him that it had been his determination ed perfectly calm and unruffled until very speedily to have resigned his authe approach of the ghost. Excepting thority into his Majesty's hands who in this particular, we think the speech was now so fully capable of governing to the ghost well conceived; the invo- for himself; and added that nothing in cation, "angels and ministers of grace the approach of death afflicted him so defend us could not have been bet- much as to be deprived the felicity of ter delivered. The different connec-living under his majesty's administrations of Hamlet with the ghost, were well expressed, in Mr. Cooper's pronunciation of king, father, royal Dane." The utterance of "quietly inurn'd” was, we think, too peculiar to consist with the fright into which the super-daily journals, is humourously denatural visitant had thrown Hamlet.- scribed in a work entitled the JoinerWhen the ghost leaves him, would not ianna : an eagerness to follow the shade even to its vanishing, have been a natural proceeding? At its second appearance, in the closet scene Mr. Cooper does this with his looks and inclination of his body; why not when it departs the

first time?

tion.

NEWSPAPERS.

The value of these multiplied

burn their books, like so much Students of every class, may now lumber, and circumscribe their studies hereafter to the newspaper productions of the press : they will therein find employment, and instruction, sufficient for all the purposes of social and civil life. The common people, of late years, are become so wonderfully learned amongst us, by the vast increase of Diurnals, and Nocturnals, Gazettes, and Gazetteers, Papers, and Pack

After Hamlet has had his suspicions of his uncle's treachery confirmed, he forms the resolution to put an antic disposition on," and when his friends find him and enquire what the ghost has been doing, he at first, enjoining them to secrecy, seems willing to impart the knowledge he has acquired; but suddenly reflecting on the danger of the communication, bursts out into the joke,ets, Journals, and Ledgers, Mercu "There's not a villain living in all Den. ries, and Flying-Posts; that you mark but he's an arrant knave." Here Mr. will scarcely find the meanest pea