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words, that, with a given brain, a man, prised at the influence exerted by who has strong and high desires will comparatively unlearned men, or by arrive at more and truer results of men who perhaps only get credit for a reflection than if, with the same brain, little “culture;” but it is not easy to his desires are comparatively mean see how they are going to help it. and low."
The truth is that the men of culture I think that a very little reflection and of broad humanity see what the on our common daily experience will others do not see, and, have a learning suffice to convince all of us that Dr. which the others can never grasp. Bucke is right. He has indeed only They see into themselves, and, seeing thrown into a more developed form into themselves, they see into others. the well-known sentiment of Pascal They are at home, so to speak, in the that great thoughts come from the region of the soul. Minds of the other heart, but it is well that the idea order, being habitually occupied with should be developed, for we are thus external objects, may be said to be enabled to judge more adequately of always abroad. You can only catch its scope and value. We see now them in the field, or on the highway, why it is that some men whose heads or in the market place, and then your are mines of facts, and who have, in talk must be of outward things. The their own way, a great thirst for know chief source, I am inclined to believe, ledge, produce so little impression on of the power exerted by modern men their fellows, and count for so little in of science is that the leaders amongst the world. Having no distinct moral them are men of strong emotional aims, or never rising above conven nature, men who are alive to all the tional conceptions of morality, they poetry of the universe, and who are do not aspire to moral influence, they thus enabled to speak to the hearts as are not impelled to any enterprises of well as to the heads of men. Such a moral conquest, they do not appeal to | man is Tyndall ; such a man, in spite the emotion:ıl side of any one's nature; of a little harshness of manner, is and consequently, though we know
Huxley ; such a man was the late them as industrious, well - informed lamented Clifford ; such a man was men, we take nothing from them in the Sir John Herschell. Dr. Bucke's book shape of moral direction or impulse. shows in a very striking manner how We know other men not so studious, natural is the connection between not such absorbers of book-knowledge, “sweetness” and “light ; ” and it not such insatiable collectors of facts, ought to make certain hard calculayet whose intercourse is to us a source tors and reasoners consider whether of the highest profit. They awaken the very keenness and hardness of thoughts in us which men of the other their intellect does not imply, on one class have no power to stir. They side, a serious limitation of power, and give us a deeper insight into ourselves furnish an explanation of their comand into the world. They enrich and parative lack of influence in the world. invigorate our minds by the broad disinterestedness of their views. The
W. D. LES. men of facts may sometimes be sur
Ruskin on Painting. Appleton's Handy | takes us along with him, not after a
Volume Series ; New York, 1879 : To- i struggle, but by a species of winning ronto : Hart & Rawlinson.
clarity of thought, that makes us sur
render our volition to his guidance. We This is perhaps the most valuable num may be convinced that he is wrong. ber yet issued of this pleasant little Garbett, in his delightful Rudimentary series. It consists of a selection of ex Treatise on the Principles of Design in tracts from the great work on 'Modern Architecture,' does so convince us in one Painters,' with which Ruskin took the instance. We rise from his pages conartistic and critical world by sturm. All vinced that Ruskin was in error in atthe faults of a collection of excerpts it tributing the value of ornaments in arnaturally possesses ; we would rather chitecture to the amount of manual la have seen half, or a third, of the original bour expended on them. We see that work printed verbatim, than have to the true test is the quantity of mental endure this jotting from one fine passage labour embodied, and that it is essential to another. The publishers, however, that this shall not be exceeded by the aim to please the general, and not the manual labour bestowed, or the latter critical, public, and they deserve our will appear to be thrown away. Yet all thanks for what they have done in this the same we feel an inward misgiving, direction. Ruskin's works are almost lest the next time we come across the a sealed book to many, on account of the heresy in Ruskin's pages, the spell of English editions, originally high-priced, that mighty enchanter enchain our senses being, in some cases, out of print. All and lest our mental powers fall into a proposals for cheap authorized editions slavish obedience to his behests. Luckily have been steadily declined by him, on enough, these behests are always purely the avowed ground that he does not and honestly intended, and are almost wish that his works should be ob always artistically correct. tainable without an effort of sacri Ruskin wrote well on pictures, because fice that will make their value after he had learnt to look at Nature with his wards appreciated the more. While ac own eyes. Not all the world bowing knowledging the ground-work of sound down before Poussin's landscapes could sense in this view-for who can deny hinder him from seeing and proclaimthat the men who wrought hard and lived ing aloud, that these so-called treescantily, to scrape together the means to trunks were, in fact, carrots and parbuy a copy of Tyndale's or Coverdale's snips. He appreciated Turner, because Bible, loved and prized it with a more ar Turner also had drawn his inspiration dent feeling than we experience now-a direct from thesky-depthis and the sea-disdays for our Bible-Society's editions, sold tances. How fine is his explanation of under cost price for eight pence? we think! the reason, a reason perhaps which Turthat it is well for the many to read Rus ner would have found it difficult to put kin in a cheap form, such as this, in or in words, of the peculiar position, some der to acquire the taste that may lead twenty or thirty yards from the shore, them to wish to have all his works on which was chosen as Turner's standtheir shelves, in the shape of editions point in his great sea-pieces. Looking which have been prepared and published from the beach out to sea, he well ob(for he is his own publisher) under his serves that each succeeding wave appears own eye.
a new entity and the curl of the breakers That such a desire will spring up, there somewhat monotonous. Seen from beis no doubt. For Ruskin is the most hind we recognise the fact that each new captivating of modern writers. We may wave is the same water constantly risbe told a dozen times over that he is par- ! ing, and crashing, and recoiling and rolltial, but when we recur to his pages he ing in again in new forms and with fresh
fury, we perceive the perturbed spirit, and feel the intensity of its unwearied rage.'
This little book is full of such lessons as this. The description of the sea in Turner's Slave Ship, upon which Ruskin would have preferred to rest the painter's claim to immortality, if driven to select one single work, is as masterly a piece of word painting as its subject is, or alas, was, of oil painting. We must leave the book here. But at the close we may refer with some amusement to the absurd remarks of the Literary World, a Boston critical paper of some reputation, which in reviewing this same passage discloses its utter ignorance of the fact that Ruskin took the last words of his description incarnadines the multitudinous seas' from a celebrated passage in Macbeth !
guage of English Protestantism. Such expressions as 'mediator,' ' type of Christ,'' Sabbatic year,' &c., which we find used in this book, are very proper phrases for sermons or theological works, but are not and never can be fit material to build into the delicate structure of a sonnet. Nor are these the only blots in the pages before us. The line
'Tis nature's spirit photographed in art,' betrays the fact that Mr. Evans is not an artist, or even a connoisseur in art. He would not otherwise have used an expression the reverse of eulogistic when the context shows he intended it as the highest praise. The ideas conjured up by the word 'photograph’ moreover, are too raw and modern, and withal to 'base and mechanical' to be fitted for use in poetry.
We should also advise Mr. Evans to change the title of a rather pretty sonnet on p. 13. The idea is a fine one, namely the ample space and absence of crowding on the upper rounds of the golden ladder reaching between heaven and earth. It is a truth that holds good of all the many golden ladders raised before us into the lofty domains of virtue, of art, of science, of religion. But to call this sonnet • There's Room On Top,' is to desecrate the subject by calling up ludicrous recollections of omnibus conductors hailing a fare on a wet day.
We do not propose to pursue the thankless task of fault-finding any further. It is with much more pleasure that we turn to those passages which we can indicate with praise. This is a fine
Tabor Melodies, by ROBERT Evans,
Hamilton. Toronto : Samuel Rose, 1878.
This little book contains some two hundred and fifty sonnets, chiefly on religious subjects, written with very considerable care and showing occasional tokens of a real poetic spirit. As a rule, religious poetry does not rank high in the scale. Correctness of feeling and orthodoxy of thought usually predominate in it over the more etherial and essential elements of poetry. The result is that while each sect and school of thought has its peculiarly favoured book of religious verses, there is seldom, if ever, apparent in such works the glow of genius that would make the whole world, regardless of theological differences, resort to them for pleasure and instruction. It is not so with all religious prose works. The Pilgrim's Progress, for instance, does not and never will depend for readers upon the peculiar sect to which its author belonged. Something of the genius of Bunyan must be acquired before the numerous writers of sacred poetry can aspire to be known beyond the pale of their own churches.
Mr. Evans does not escape from the force of this rule. Too many of his sonnets are merely the records of an ordinary, some of a very commonplace, religious experience, couched to a considerable extent in the usual technical lan
* As the loud thunder tramps adown the night," and in the sonnet entitled 'the Meteor,' we find much beauty, marred however by the absurd conceit of calling the falling star
A Shadrack flashing out, then hid from view.' This is a very typical sacred poet's fault. There is no object to be attained in calling the star a Shadrack, beyond giving the sonnet a quasi-Biblical flavour, and no reason that we can see why Shadrack, rather than Meschach or Abed-nego should have been singled out for this dubious honour. But for this blot we should the more admire the poet's aspiration after the meteor's transient brightness and his desire to emulate it in some one grand act
* E'en though I knew when its quick gleam was gone | show his reading, and forthwith lugs in That high in heaven the stars would still shine on.'
quotations from every side, more or less Such occasional passages as these, or appropriate, and more or less humorous. again a happy expression such as
This leads to a jerky style, inverted “Truth in the bold minority of one,'
commas rule the roast, and you never
know, when commencing a sentence, induce us to encourage Mr. Evans to
whether the sting in its tail is going to continue his pleasing labours. As it
be the authors own, or someone else's. stands, his book deserves a welcome from
But worse consequences flow from it the many families whose reading-leisure
than this. To quote may be thought an is to a considerable extent confined to
easy task, but your real quotation is not Sundays. But if, as we should hope, he
a bird to be caught with salt. The most aspires to a wider andience, he must be
refined taste is required for the highest proportionately more severe upon him
class of quotations; a taste that selects self. His choice of the sonnet proves
its material from the treasuries of a wellhim to be somewhat ambitious, and is
stored memory. Such delicacy, however, favourable inasmuch as it will permit him
cannot be expected in essays or papers to remove whatever sonnets are condem
of a fugitive nature, often consisting of nable as mediocre without injuring the
a string of foreign passages slightly conrest. Let him in future be careful to
nected together. The temptation in select for publication only such poems
these cases to refer to other men's colas embody a novel thought, or an im
lections on the same subject is almost portant truth clothed in a new and happy
irresistible. form, and we can almost promise him
In the days when classical quotations that recognition which he must not ex
were in vogue Montaigne's · Essays' and pect although to his present two hundred
Burton's Anatomy of Melancholy' were and fifty sonnets he had added twice
the stock books of reference. This piltwo hundred and fifty more.
laging is often done very innocently. The essayist looks out for one to start himself with, and, while copying it down,
another on the opposite page catches his Hours with Men and Buoks, by WilLIAM
eye and really is so appropriate that our MATHEWS. LL. D. Toronto, Rose
anthor can't help appropriating it. The Belford Publishing Co. 1878.
salve he applies to his conscience is this, Those who love a chatty book, full of that after all it really is a true quotation interesting and quaint facts, couched in and he has only saved himself the trouble an easy style and that lead to no unplea of a hunt through the original book, sant agitation of mind or unwonted ex just as a reference to a directory aids us ercise of brain, will admire this work of in the search for a house in some street Mr. Mathews. W, may not feel in we are not acquainted with. clined to turn to his pages for a deep Now, with all respect to the essayist, criticism on even the style, to say noth his salve only serves to hi le his fault, ing of the matter, of De Quincy's writ and his illustration is a vicious one. ings,-but any one who relishes a plea His true position is more akin to that of sant farrago of anecdote, quotation, and the man, who, knowing that there is a biography will enjoy a dip into his open good directory of such and such a town, ing paper on that great essayist. Cer issues a pirated edition with some artainly, no lover of De Quincey will find bitrary alteration in the arrangement and cause to complain that a grudging meed some trifling additions of his own. We of praise has been there dealt out. He must accuse Mr. Mathews of this conmay, probably however, remark that there duct. The greater part of the paper in is little in the writer's observations be this volume on Literary Triflers' has yond the feeling of an ordinary fairly been transferred neck and crop from the appreciative reader, put into rather bet elder Disraeli's 'Curiosities of Literature,' ter shape than such a reader formulates without one word of acknowledgment. his thoughts in.
This is not fair. Those who do not hapThis lack of insight and originality is, pen to know the previous work will natin fact, Mr. Mathews' besetting sin. 1 urally credit Mr. Mathews with a labour No doubt it is hard for an essayist of and a research which are in no sense his this stamp t) be original. He wants to own. This is not the only instance in
which Disraeli suffers. We venture to, Under One Roof. By JAMES Payn. say that every illustration, on p. 60 of Toronto: Rose-Belford Publishing Co., the paper on Robert South, was taken 1879. from the same scource as the bulk of that on Literary Triflers.
There seems to be but one opinion in That this method of working would | English literary circles as to the success lead to a careless style of argument
of Mr. Payn's latest story. The Aca. might be expected. Among the graver demy praises it both for its story and the errors we would point out one at the manner in which that story is told. The commencement of the paper on The Times speaks in laudatory accents of the Morality of Good Living.' According to
"indefinable freshness' which exists in our author 'the theory of Hippocrates
all Mr. Payn's works, and which 'no that the mental differences in men are
fertility of production seems to stale.' owing to the different kinds of food We can unfeignedly give in our adhethey consume, has been very plausibly
sion to these opinions, as far as concerns illustrated by the late Mr. Buckle.'
Mr. Payn's framework of plot, which A more misleading sentence has seldom seems to us to be carefully constructed. been penned. We do not mind confes As the Academy points out, he is one of sing that we have no more acquaintance
the first in the field in taking advantage at first hand with Hippocrates than Mr. of Spiritualistic belief as a potent motive Mathews has, but we do know that the power for his machinery. Since he exfoolish old fancies to which he refers, poses the worldly and deceiving conduct such as the eating of hare's flesh having
of the chief Spiritualist, and shows up a direct and immediate effect on a man's the complete state of blindness into mind and rendering him timid and prone
which the other believer falls ; it would, to sudden, panicky terrors, are nothing perhaps, be amusing if we could get hold akin to any theory which Mr. Buckle
of some of the reviews of his book which ever illustrated. He would have laughed will probably appear in those nondescript to scorn the notion that he ever credited newspapers which affect to espouse the such old wives' tales. All he said was Spiritualistic faith. Such notices will, in that the available quantity, the price and
all likelihood, fall foul of his novel altothe quality of a national food affected
gether, and in particularly point out some the question of population, which, in
blemishes in the elaboration of the plot. turn, acted upon the accumulation and
Mr. Ferdinand Walcot, known to the distribution of wealth, and might there
readers of the tale as a finished hypocrite fore be said to form a remote and pri
of the most consummate depth of design, mary element in the building up of a certainly commits some slips in his vil. national character. Not less extraor
lainy which appear inexcusable from a dinary is the statement, on p. 176, that
detective's point of view, inasmuch as • Sallust says that a periwinkle led to the they tend to make one consider him in capture of Gibraltar. It is some time
the light of an overrated villain and one since we read our Sallust, but it strikes who has some considerable share of the us forcibly that he must have been some.
bungler (as well as the burglar) in his what of a prophet to have accounted so
composition. It would not do for us to neatly for the success of an attack on a
expose these slips in detail, as it would place which did not exist in his time.
require an explanation of the dénouement But what are we to say of the man who
which would be manifestly unfair to is so densely obtuse as to think that be
those readers who are now following the cause he demonstrates the extreme diffi
book through our pages. We will leave culty which Archimedes would have ex
it, therefore, to their discernment to disperienced and the very long lever he
cover these blots in due course for themwould have required to move the world, selves. even if he had the desired fulcrum, therefore he has exposed the philoso
Geier Wally, a Tale of the Tyrol, by pher's saying as a ' colossal absurdity'!
WILHELMINE VON HILLERN. AppleThe absurdity remains with the nan
ton's Handy Volume Series, 1879. who is unable to perceive that Archi
Toronto : Hart & Rawlinson. medes was merely enunciating a principle, and who imagines that by trans This is a pleasant little tale, with a lating that principle into a concrete form decidedly fresh flavour of its own about he has successfully refuted it.
it. Wally, nicknamed the Vulture, is