The Knickerbocker, or New-York Monthly Magazine, June 1844 / Volume 23, Number 6

by Various

EXTRACT FROM MY JOURNAL.

Graffenburg, July 4, 1844.

‘I was very fortunate, they tell me, to find Seatsfield in so companionable a mood. He appeared in high spirits, and was exceedingly conversible. The glorious return of our national anniversary had a visible effect upon him. I presented my letter to him last evening, but he was weary, and retired early. When I first met him in the Upper Bath-room Walk, this morning, he congratulated me upon the brightness and brilliancy of the day. ‘You have much to be thankful for, Sir,’ he observed; ‘the day is perfectly American. Just such a sun as this is now dawning upon Broadway and the Battery. The sound of India-crackers and the pleasant smell of lobsters is already perceptible to the senses of the awakening Manhattanese.’

‘Boston, too, my native city,’ I observed, ‘is also alive to the holiday influences. Boston Common I dare say is already white with tents, and the fragrant commerce of the booths is just commencing on the Mall.’

Seatsfield: ‘Yes, Sir; but Boston and Philadelphia both fail in developing the true character-stamp-work (character-stampfen-werk) of the day. To see the Fourth of July in its glory, one should visit New-York. To my senses, which are uncommonly acute, there is a peculiar smell about the Fourth of July in New-York, which differs in toto from that of any other holiday.’

‘In Boston we also have the perfume of lobsters and egg-pop blended with that of orange-peel and pine-apple——’

Seatsfield: ‘That, Sir, is but a feeble rationale of the New-York savor. I have often, in a jocose mood, amused myself with analyzing this odor. I have resolved it into the following elements: lobsters, gunpowder, trampled-grass, wheel-grease, and cigars. It is mainly to these ingredients, grafted upon the other ordinary city smells, that I attribute the Fourth of July smell.’

‘There is one that you have failed to detect; namely, a faint whiff of barn-yards, owing I presume to the strong prevalence of farmers and other rustics from the surrounding country.’ Seatsfield smiled at this, and acknowledged, in a laughing way, an occasional intimation of manure. ‘Graffenburg,’ I observed, ‘is remarkably free from all strong odors; it is a very clean village.’

Seatsfield: ‘That, Sir, is owing to the water: depend upon it, wherever water prevails neatness will ensue. Temperance and cleanliness go hand in hand. The ancients were a filthy race, and they were great wine-bibbers. What a condition of personal and mental nastiness is divulged by Horace in his ‘Iter ad Brundusium;’ yet Horace was a choice specimen of a Roman gentleman.’

‘Have you had any poets among you here? or is the hydropathic system too repugnant to their art?’

Seatsfield: ‘Our countryman, Longfellow, was here not long since. I sat at table with him frequently; but never introduced myself to him.’

‘Do you think highly of his powers?’

Seatsfield: ‘As a prolific generator of novel life-images, no; but as a vivid delineator of the inner-thought principle, as an artistical displayer of the higher subjective mood, he is of the very first class. I honor Longfellow.’

‘He is perhaps our smoothest versifier, next to Halleck.’

Seatsfield: ‘Nay, he is the only one among us who can combine extreme polish and the utmost facility of flow with deep-seated reflection.’ Seatsfield then quoted, with a sublime energy, from the celebrated ‘Psalm of Life:’

‘‘Not enjoyment and not sorrow

Is our destined end or way,

But to act, that each to-morrow

Find us farther than to-day.

‘In the world’s broad field of battle,

In the bivouac of life,

Be not like dumb driven cattle,

Be a hero in the strife.

‘Trust no Future, howe’er pleasant,

Let the dead Past, bury its dead;

Act, act in the glorious Present,

Heart within and God o’er head.’’

‘You give the poet a great advantage,’ I said, ‘in quoting his very finest production, and picking out the choicest stanzas. Beside, his theme here is one of so general a nature, and so familiar to philosophy, that it would be hard for any one to moralize upon it in verse without accidentally hitting upon some sublimity. The commonest intellect has lofty and awful thoughts whenever it gives way to serious meditation upon our mortality.’

Seatsfield: ‘That is partly true; but Longfellow is not only great upon that ground. His realm is very extensive. No man has the power (had he only the will) of depicting the simplicity of every-day life and objects with more grace or comprehensiveness. There are some touches in his ‘Village Blacksmith’ inexpressibly beautiful, and worthy of Burns’ ‘Cotter’s Saturday Night:’

‘His hair is crisp and black and long,

His face is like the tan;

His brow is wet with honest sweat,

He earns whate’er he can,’ etc.

And then again:

‘He goes on Sunday to the Church,

And sits among the boys;

He hears the parson pray and preach,

He hears his daughter’s voice

Singing in the gallery,

And it makes his heart rejoice.’

Seatsfield repeated these verses with much emotion; and I observed that a tear stood upon his lids. I therefore turned the conversation upon hydropathy, and introduced a quotation from Pindar: αρὶστον μὲν ὕδωρ, etc.

Seatsfield: ‘Pindar, Sir, has expressed a great truth; but I think that Pierpont has expressed it better. In his exquisite ‘Ode on the Opening of the Marlborough Temperance-House’ how beautifully he says, after speaking in regard to the virtues of cold water:

‘Oh! had Eve’s hair

Been dressed in gin,

Would she have been

Reflected fair?’

‘And then, after describing the beauty of Eden, with its rills and pellucid brooks bubbling through the fresh meads, he goes on:

‘Are not pure springs

And chrystal wells

The very things

For our Hotels?’

‘That, Sir, is excellent, and the somewhat homely imagery only enhances in my mind the truth of the sentiment. Pierpont, Sir, is a very great man.’

‘As great as Longfellow?’

Seatsfield: ‘No, Sir, perhaps not; there is a considerable difference of calibre between them. I should say now that Longfellow was a first-rate artist with a second-rate imagination, and that Pierpont was only a second-rate artist with a first-rate fancy. There is no mistake in Pierpont.’

I smiled at Seatsfield’s affectation of Americanisms, as if out of compliment to myself, or in honor of the day; and I rejoined: ‘There may be no mistake in Pierpont, but there is one or two in Longfellow.’

Seatsfield: ‘Grammatical or prosodiacal?’

‘Neither; but in the beginning of his ‘Psalm of Life,’ he says:

‘Tell me not in mournful numbers

Life is but an empty dream;

For the soul is dead that slumbers,

And things are not what they seem.’

‘Here he evidently meant things are what they seem; for in the next stanza he goes on to say:

‘Life is real, life is earnest,

And the grave is not its goal;

‘Dust thou art, to dust returnest,’

Was not written of the soul.’

Consequently, if life is real and earnest, and the soul is incapable of mortality, things must be what they seem, and the soul cannot be dead that slumbers. And if the soul is dead that slumbers, and things are not really what they seem to be, life is indeed an empty dream.’ Seatsfield looked puzzled at this.

Seatsfield: ‘You are somewhat hypercritical. Great thoughts must not be trimmed to the exact dialect of business-men. Longfellow reveals important truths; he utters what is pent within him from the impulse of utterance: he tells us that ‘Art is long and Time is fleeting;’ now some arts are not long, and time often drags heavily. It will not do to be too precise in poetry.’

‘But is that sentiment original? Does not one of the ancients say, ‘Ars longa, vita brevis?’ and does not that come pretty near to Longfellow’s idea?’

Seatsfield: ‘Yes, Sir, but that is a little criticism which picks out words. Longfellow, or yourself, or any other man, would have arrived at the same conclusion, even had the ancient author never written it.’

‘We were here interrupted by a call to luncheon; and I take advantage of the break in my journal, to bring this article to a close. More of the Seatsfieldiana I reserve for another number, provided the public are not already glutted.’

Magazine Writing.—We know not how we can better evince our appreciation of the kind and flattering comments of a Southern correspondent, who will at once recognize our allusion, than by citing the somewhat kindred remarks of an old and favorite contributor, now passed away from earth. It was a pleasing matter, he said, to sit down with the proper afflatus stirring within him, to write an article for a Magazine. ‘If the work has a general prevalence; if its fame is rife on good men’s tongues, the inspiration is the stronger. One says to himself, how many friends of mine will overlook these very lucubrations, perceive my initials, and recognize my name? How many pleasing associations will thus be awakened, and peradventure commendatory remarks expressed, concerning my powers? What a quid pro quo for wakeful nights, emendations of phrases, the choosing of words, and toilsome revision! The other day,’ he continues, ‘while reading the proof-sheet of my article in the last Knickerbocker, I fell into a train of reflection upon the large amount of care and labor which must be entailed upon the publisher and editor of an original Magazine. Some one has observed, that when we listen to an exquisite opera, or any elaborate and intricate piece of music, we think not how vast were the pains and attention bestowed upon every note and cadence; what efforts for perfection in a solo, what panting for a warble, what travail for a trill! Taken separately, and at rehearsals, in disjointed fragments of sound, how different are they from that volume of sweet concords which is produced when they are all breathed forth in order, to the accompaniment of flutes and recorders, in one full gush of melody! This is just like a Magazine. How many minds does it engage! Cherished thoughts and cherished feelings, polished or sublimated, there find utterance, and demand that honor and deference to which they are entitled. In his beautiful Introduction to the Harleian Miscellany, Johnson sets forth the necessity and benefit of similar writings, with reasons as conclusive as the language in which they are expressed is chaste and strong. In a country like ours, where the vast population move by common impulse; think promptly, are enlightened with ease, and turn to the best account that knowledge which is received with the greatest facility; are inspired with sacred and patriotic feelings from the bar, the senate, the pulpit, and the press; it is important and just that the readiest methods and means of instructive moral amusement should be the most esteemed and the best supported. I confess I never look into a Magazine, that I do not liken it to a large and pure reservoir of refreshing waters; derived from many streams, and prankt around its borders with the flowers and garniture of poesy; possessing qualities agreeable to every taste—the grave, the solid, the scientific, the light, the gay. It is a map of the higher moods of life. It conveys a sustenance with the relish of pleasure. All who favor it with their productions have different tastes and faculties of mind. Each one endeavors to do the best with his theme. He ornaments it in diction, or tasks his fancy, or explores the secrets of science, or illustrates the events and scenes of his country: he excites broad-mouthed laughter, by salutary jest and pun; he expatiates in pathetic sentences, or murmurs in the mellow cadence of song; or arouses interest by the embellishments wherewith history is refined, and which shed a light over the dim annals of the past, making them to smile,

——‘even as the radiant glow,

Kindling rich woods, whereon the etherial bow

Sleeps lovingly awhile.’

‘Now what I thought beside, while looking over my proof, was this: that a ‘circulating medium,’ through which so many minds communicated their thoughts, produced and clothed with befitting language in solitary labor; smoothed, strengthened, or harmonized by revision, and rendered impressive by those helps and researches of which every readable writer must avail himself; such a medium, I say, merits the esteem and respect of all. It deserves not to be taken up for judgment, at a momentary glance, by the undiscerning eye of careless inquiry. It should be read impartially, and spoken of, in all worthy points, with praise; in faulty ones, with tenderness. Our literature, I take it, is not yet a sufficiently flowery pursuit, to enable any of its votaries to sow its walks with brambles. By its influence, the country is to be mentally illustrated; the clanking shackles of transatlantic humbug are to be thrown off; and the establishment of wholesome feelings, and reliance upon our own intellectual resources, firmly effected. I love to see the general press engaged now and then in cheering onward the laborers in the more unfrequented and toilsome avenues of our literary vineyard. It sends a God-speed to the bosoms of those whose travails are more for their country than themselves; and who are content, in anonymous pride, to believe, that it heralds that bright day of mental refinement which will ere long, among the freest and noblest confederacy of nations on earth, irradiate the utmost borders of that holy circumference,

‘Our Native Land!’

A thrust with a two-edged Weapon.—We rather incline to the opinion that the ‘complainant below’ is infringing the law which forbids the use of concealed weapons; that are not the less to be guarded against, certainly, when as in the present case they cut both ways. But our readers shall judge: Dear Editor: The country, strange as it may appear, has peculiar and permanent inhabitants; neither dressing in skins, nor wearing their own feathers, but habited after the glimpses of fashion which reach them through their trees. As we have never yet met with a man who was so fortunate as to have no relations, we take it for granted that all city-zens, yourself among the rest, have country-cousins. Think of the countless multitudes that turn their longing eyes in the direction of a metropolis like this, yearning for a visit, and sending off by frequent Opportunities, never by mail, those remarkable epistolary compounds of hopes and wants which no other race of beings can compose in perfection: ‘Hope John is well, and Betsey will come and see us next summer; and want’—Lawson and Stewart! what do they not want? Every thing; from twenty yards of silk down to a penny’s-worth of tape. The letters run somewhat in this guise, though less poetically:

‘Cousin John, please to send down to-morrow,

At eight, by the Scarborough mail,

‘Claudine, or the Victim of Sorrow,’

Don Juan, two mops and a pail;

Six ounces of Bohea from Twining’s,

A peg-top, a Parmesan cheese,

Some rose-colored sarcenet, for linings,

A stew-pan, and Stevenson’s Glees;

A song ending ‘Hey-noni-noni,’

A chair with a cover of chintz,

A mummy dug up by Belzoni,

A skein of white worsted from Flint’s.’

Half the things that are sent for, they might buy at their own doors. Again and again we have known them put in commission and procure from an oppressed relative the identical productions of a manufactory within a mile of them. A singular virtue seems to abide in all that comes from the sunny side of Broadway.

‘You perhaps may not know what an Opportunity is. In love affairs you have undoubtedly experienced that it is every thing; but in rural affairs it is more. It is the common-carrier of a village. So soon as an inhabitant has expressed his intention of going to town, he becomes an Opportunity, and like a Chinese, liable to pains and penalties for leaving his native place. From every quarter pour in letters, bundles, and packages, which are to be carried with care and delivered with despatch. No thanks for his trouble, if they should reach their destination, and a general liability for the uncertain value of their contents if they should chance to be lost. So that an Opportunity’s advent in town ought to be announced in this way: ‘Arrived, Hiram Doolittle, from Connecticut, with m’dze to Legion and Company.’ The Opportunity not only transports, but acts as General Agent. Commissions are given him for a return freight. Hats, coats, dresses, are much wanted, which he is expected to select with taste, and to purchase cheap. Even the labyrinth of houses does not protect him from the Argus eyes of his consignees. They seek him out and insist upon his turning himself into a United States’ mail and a Harnden’s express. It is not a week since we heard a consignee’s friend’s friend request an Opportunity to carry home a loaf of sugar to his country correspondent.

‘Perhaps, Friend Knick., we are wounding your feelings all this time, tender by reason of many cousins and commissions; but we can assure you that we have an infinite respect for all relationship, and are rather blessed than bored by the requisitions of our own rural branches. We trust, however, that your rustic kith and kin do not come upon your house in the spring, in shoals like the shad. Unhappy editor, if it be so; for until the day predicted by Alphonse Karr, when connexions shall be cooked and côtelettes d’oncle à la Béchamel and têtes de cousin en tortue shall smoke lovingly upon the table, there is nothing for you but to submit to your Fates, or to give up your house-keeping. But with country cozens, those provincials who are not bone of your bone, and who nevertheless at every visit to town call upon you with an eager look and covetous smile, as if to say, ‘Ask us to dinner, we once invited you to tea,’ there is but one method to pursue; the cut—the firm, unwavering, direct cut. Do not pretend not to see them, or to look fixedly in another direction, but give them the vacant, absent stare, as if you saw around them, and through them, and the image before you excited neither attention nor recollection. There are no terms to be kept with them. Their Shibboleth is not yours.

‘In the ‘Absentee,’ a London fashionable lady, Mrs. Dazeville, goes to Ireland, and is hospitably received by Lady Clonbrony, stays a month at her country-house, and is as intimate with Lady Clonbrony and her niece Miss Nugent, as possible; and yet when Lady Clonbrony comes to London, never takes the least notice of her. At length, meeting at the house of a common friend, Mrs. Dazeville cannot avoid recognizing her, but does it in the least civil manner possible: ‘Ah, Lady Clonbrony! Did not know you were in England! How long shall you stay in town? Hope before you leave England you will give us a day.’ Lady Clonbrony is so astonished at this ingratitude, that she remains silent; but Miss Nugent answers quite coolly, and with a smile: ‘A day? certainly, to you who gave us a month.’ Miss Edgeworth evidently considers this a capital story; and we have no doubt that many stupid people who have read it consider it an excellent hit; but we can assure them that they know nothing of the woods and fields. It is a great favor to make people in the country a visit. It relieves them from the tiresome monotony of their rose-bushes and chickens; and by the active exertions in planning breakfasts and dinners, and making the one ride through the valley last for three afternoons, infuses if possible a certain degree of mental activity into their lives, which must be far from disagreeable to them. A cit too is in a certain degree a lion. The oldest town-jokes are as new in the country as last year’s ribbons; and the neighbors gather together to view with delight a face that they have not seen every Sunday for the last fifty-two weeks, and are only too happy to engage the Novelty at a ‘Tea.’ But when they come to town, what can you do with them? Who the devil wants to see them? Your friends care little enough for you, still less for your agricultural acquaintances. You cannot bring yourself to go to Peale’s Museum, or to see the talking-machine; and tickets at the opera are dear, unless you stand up. As we said before, you must cut them, or

‘If you are a little man,

Not big enough for that,’

you must try to have them arrested as soon as they arrive, as disturbers of domestic peace, and confined in the Tombs during the whole of their intended stay. If the Legislature sat in New-York instead of in a country city, they would pass some law similar to the South Carolina free-black law, confining all rural visitors, or at least making those liable to an indictment for false pretences, who claim acquaintance with the ‘people of the whirlpool.’

‘If it were only for once, one might ask all his rats des champs to meet one another at a Tea. This might be amusing, if the jest did not grow painful by repetition. There is no reciprocity in your dealings with such invitees. You will probably never again reach their Siberian settlement, whereas they come to town three times a year! It is not fair. It is a base cheat. How can they be so ungenerous and illiberal as to accuse you of neglect and ingratitude for not cultivating them when in the city? They might as well abuse you for not having a green-house! This doctrine of ours is so clearly reasonable, that all people of any breeding admit its truth, and act accordingly. You may stay a week at a country-seat, and need make no acknowledgments of any kind to the owner thereof in his town-house; whereas a dinner in the city is a debt of honor, which must be paid. This is a well settled law. Not that your obligation is by any means cancelled. It is not dead, but dormant. Next summer you will feel deep gratitude for the kindness you received during the last; but no such indebtedness is payable in urbanity. George Selwyn met in St. James-street, London, a man whom he had known very well in Bath, and passed steadily by him without a look of recognition. His acquaintance followed him, and said: ‘Sir, you knew me very well in Bath.’ ‘Well, Sir,’ replied Selwyn, ‘in Bath I may possibly know you again.’ Farewell.

Another ‘pellet’ from Julian.—Not a word is necessary by way of introduction to the ensuing passages from an epistle lately received from our esteemed friend and correspondent Julian. Happy husband of a happy wife and happier mother! Happy father! may his joy never be less: ‘We are in the country! When you write this way, say ‘To the care of —— ——, Esq.’, for we are designedly three miles from post-offices and newsboys. I have given warning that if any of the latter come within my grounds with his French things, I will souse him in the river, and hold him there till he shall be thoroughly chilled into a dislike of these parts. You will readily imagine why we are here. The excitements and distractions of city life for the last few months were too much for us, and there are some things that can only be enjoyed apart from the world. Here, we subside gradually and gracefully from that high and tense delirium from which I at least made my aërials, always coming back, however, to young Julian; who, by the way, is another occasion for country life, as I have great faith in first impressions, and I wish his to be bright and beautiful. Heaven preserve him from all darker colors; from the doubts, the glooms, the moral mistiness of your city atmosphere! Let no fog come between him and the bright sky, till he has well discovered that there is a heaven beyond, where there is neither cloud nor shadow, and up to which not one grain of all this dust and filth of the earth’s whirling shall ever reach. It is quite enough that we are in sight and hearing of your great Babels; the jarring of their daily strife and the smoke of their torments. A lively and dashing river rolls between us, going off at a hand-gallop among rocky islands, over which we see their spires pointing up like electric-rods to avert the wrath that might otherwise descend upon them; and mingling with the dash of waters, we hear now and then their petty alarms, their steamers and fire-bells, and the dozen other occasions upon which they see fit to make a great noise in the world; but the travelled sound has a courtliness that is rather pleasant than otherwise; and as a key-note to our mocking-birds, it is quite worthy of the sweet south that brings it up. Whenever there is any sudden ebullition that cannot be pared down to the common air, we are made aware of it by a cannonading that is doubtless very considerable down there, but for any thing so ambitiously meant, it sounds here very miserable; a wretched attempt at notoriety, of which the most noticeable is the smoke of their powder. And so with all their sky-flourishing and rocketing, which we look at as at a falling star; pretty, no doubt, but not in our way. Every morning a railroad train starts out, and approaching within a mile, disappears among the hills with a slight buzzing and squibbing, like the fly on the window; and then after it has gone, as we suppose, there is another squib, very smart and snappish, and we hear nothing more of it till the train comes down, frets a little again as it passes by, and goes on to discharge its contents in the great city. To all these things we say, ‘Pass on!’ the world is various, and must be amused; but for us, we respectfully withdraw. We have had enough of the intense; we now welcome the trifling, appropriating however as much of the serious as we care to admit in our still life. When the Sabbath comes round, there are seven bells that reach us, each with its separate voice; and these, with falling waters, and the morning incense going up from the hill-sides, are as much of ‘mass’ as we care to have in our worship. But we have a ready ear for all sweet sounds, and need no glasses to appreciate the beautiful. Sunrise and sunset; the grouping of clouds; the blue haze that now and then lies on the landscape, all one with my cigar-smoke; and the storms and lightnings of the young summer, so spitefully beautiful; all these, with whatever of glory there may be in the still watches of the night, find their place in our picture-gallery; but we leave them as God made them, and add no tint to their coloring.

‘You are aware that the sun rises as per almanac. This is common; and so common, so much an every-day affair, that he gets very little credit therefor; and yet, that he will rise with great exactness, aside from all human calculation, and go on traversing the sky with a wonderful regularity that nothing can stop, is a very pleasant fact touching the prospect of to-morrow; and so also, that every thing in nature will be wrought with marvellous beauty and harmonies of sound; and oh! most satisfactory of all, there will still be an air that properly inhaled fills the heart as well as the lungs. It is from a calm consideration of this fact, that we have done with the eagerness of pleasure. No daily counting of hours to see that all have been properly brimmed; no grasping at a dozen things at once; no draining of the very dregs, lest that may be the last bottle, and we die to-morrow. But thankful as we are for to-morrow, and especially grateful for to-day, we don’t care for noon-marks. We have kept no count lately, and for aught we know, Time may have stopped, but probably not. He is doubtless somewhere about, but we take no particular notice. Our watches have run down, and we care not to wind them again. The hours, if there are any, are all golden, and we have no occasion to note the passage one to the other; or if we start them, just to see the motion, they run on diamonds of the purest water; but mostly, whether it be morn, or mid-day, or the starry night, Sabbath or week-day, it is all one—all beautiful. Does it rain? It is quite proper. The earth needs it, no doubt, and it will look the more grateful therefor. Does it shine? Why then the birds will sing, and if they will come a little nearer, we will teach them that charming air from the last opera. Does a new star come out in heaven, or an old one disappear? The one will be an added glory, and the other not much missed; but they will little concern our astronomy. Expect no more rhapsodies, my friend, unless it be upon the wonderful ease with which every thing can be done without them. That we find all things pleasant, is the extent of our poetry. It is pleasant to wake; it is pleasant to sleep; it is pleasant to wake and sleep again; pleasant to watch the opening lid, and pleasant the smile that follows it; pleasant are kind words and tones, the touch of hands, and the touch of lips; the breath of flowers and those that love them; pleasant are the thousand infinitesimals, like the motes of the sun-beam, not less bright because of their minuteness; and pleasant the thought that sufficient as this heaven may be, there is another one above. And doubtless it is pleasant to breathe as usual, and feel the heart send round its currents with a touch of joy; but oh, pleasanter than all, to have no sigh or throb, to remind you that that breath must one day stop, and that warm blood turn cold. Oh! in the ‘time’ that is set apart ‘for all things,’ may heaven look kindly on and count these trifling hours!

‘Shall we ever leave this charming retreat? Certainly not, while these things last; but it is not impossible that we may return with the cold weather. Meanwhile, I have made a chalk-mark about the grounds, and as yet nothing with a bite or sting has passed over it. Mrs. Julian, as she now insists upon being called, has become highly contemplative; and if I did not know that she was never so happy before, I should think her sometimes a little sad; she is so quiet, so demure, and so eternally bewitched with that boy! Why Sir, she will sit for half a day over the fellow, amusing herself and him with I know not what varieties and wonders of invention; with lullabies and ditties and homœopathies of language; and if he condescend to sleep for a few moments, how divinely still must every thing be! What infinite care is there in pinning the screen; what fortifications are built round about him; and what a world of protection in every movement! And then, when all is complete, she must still sit there, with that strange upward look which she has acquired lately, seeming to reach quite beyond the stars. She is a strange woman! Yesterday, having dined rather late, I happened to forget myself for a few moments on the lounge; and on waking, I found her kneeling before me, and looking up in my face with an expression that to me is peculiarly embarrassing; not the quick, joyous look, followed as quickly by the touch of lips; not that, but something quite indescribable. Perhaps I am not as considerate as I ought to be on such occasions, for doubtless she knows what she would be at, but I confess I do not. Indeed, she is constantly bringing out new points and flourishes, which to me are all vowels of the Hebrew; no doubt very sweet and musical, and certainly very necessary to the sense of the reading, but they are past all finding out. When she dazzles me with these brilliants, I sometimes reply in the Tartar, and so we are quits.

‘Young Julian developes slowly. He has smiled once or twice, but in a manner so precocious, that it would be alarming, if he were at all delicate. Fortunately he is not. His utterance as yet is quite unintelligible, though no doubt he has his meaning. To Mrs. Julian it is all poetry. ‘Poeta nascitur’ may be quite true, but if he rhymes, which is quite possible to her ear, I am constrained to think that it is entirely accidental. I hope, at least, that he is not so viciously gifted. ••• Have I told you that she refuses a nurse, and that too pretty sharply? Well, that is not all; I can hardly touch the boy myself. She is so afraid I shall crush it! My raptures, she says, are not becoming; she even says that I ‘frighten the child!’ But she is the strangest of women! Last night, happening to wake some time in the small hours, I heard a slight noise in the room, and emerging from a dream, in which I remembered to have heard a good deal of crying and hushing, I listened intently for some moments, but couldn’t for my life guess what it could be. There was nothing moving in the room, and the sound appeared to arise from some slow and uniform movement, so that it couldn’t be the wind on the shutters; and if the mocking-birds had been sufficiently awake to swing, as they sometimes do, they would certainly have dropped a word or two, for they are great talkers. Now I often hear bells, fire-arms, and exclamations, and very often hear my name called, and questions asked, to which I reply in due form, all which I know at the time to be imaginary; but this sound, though it seemed to be familiar, I couldn’t make out. I was so drowsy, however, that I had half a mind to consider it a dream; but then what if any thing should happen? I should be responsible. Rising, therefore, very carefully, not to disturb Mrs. J., I discovered by the shaded light on the table that she was quite sound asleep; but what was wonderful, her right arm, outside the bed, was moving up and down with the regularity of a pendulum! What the deuce was all that? Well, Sir, I bent over breathlessly, and found she was pulling at a string! And what, O Editor! who ought to know every thing, what do you think she was pulling? Why, Sir, she was pulling at young Julian’s cradle. She was rocking the baby in her sleep! Oh!’

Apropos of ‘the baby’: an agreeable correspondent, from whom we shall be happy to hear ‘frequently if not oftener,’ intimates to us that our friend Julian, when the ‘lactiferous animalcule’ whose advent into this breathing world he lately described in such glowing terms, shall have reached a more mature babyhood, may find occasion to ‘change the paternal note;’ and he cites for us the following passage, from an essay by a sometime contributor to the Knickerbocker, ‘in justification of his fears:’

‘In my bachelor visitations to my married friends, I have often chuckled over the bashfulness, contending with love, which distinguishes the YOUNG FATHER. In the pride of his heart, perhaps, when his little man has first given evidence of that degree of mental exertion called ‘taking notice,’ he clasps the crowing baby in his arms; he rests its lily feet upon his knees; he endures with philosophic patience all the ‘gouging,’ and pulling, and kicking, with which the young hero may testify his triumph; and while the young mother stands by, her eyes beaming with mingled love and pride, he becomes warmer in his romps; makes faces, as the nerveless fingers of the little one seek, with more earnestness, his eyes, or pull with a greater effort at his lips; and amid screams of laughter, he chases the flying hours, until at length a ‘pale cast of thought’ flits over the baby’s face, like a cloud in a summer sky. This is the signal for immediate seriousness. The father grows grave—then frightened. He raises him gently from his lap, and with a single exclamation of ‘Take him mother!’ consigns the precious charge to her arms, and darting a hasty glance at his ‘pants’ he walks in silence from the room. Nor do we bachelors always escape with impunity. Anxious to win a smile from some fond mother, more than one of us may have dared to approach, with a kiss, the hallowed lips of her darling. But mark the quick wing of vengeance! Darting from its lurking place in the mouth, out flies the little doubled fist, and slams a well-beslabbered biscuit into the face of the intruder. He recoils, with his ‘reeking honors fresh upon him,’ and the little squab coos in triumph at his failure.’

National Academy of Design.—The growing interest felt in relation to the Fine Arts in this country, and the influence which the National Academy of Design has had in producing that interest, make it imperative upon us to notice the pictures which are annually sent to this exhibition. In passing through the Academy with this object in view, we have been at some loss to know where to begin. Finding however by chance at the end of the catalogue an alphabetical arrangement of the exhibitors’ names, we have adopted this as the best method of laying the merits of the several pictures before our readers. We therefore begin with:

V. G. Audubon, A.—Mr. Audubon exhibits four pictures this season: of these, No. 133, ‘Grove of Palm-trees’ in the Island of Cuba, we prefer. This picture appears to be a faithful representation of the scene, and is handled with a free and firm pencil. The trees are perhaps a little too literally represented, to be agreeable to the eye, consisting as they do of so many equally straight and unpicturesque lines. No. 237, ‘Moon-light Squall coming up,’ is a pleasing representation of one of Nature’s poetical moments. The light is clear and silvery, and the water transparent and truthful. The whole scene is interesting, and there is but little to find fault with; although perhaps parts would admit of more warmth of color.

J. D. Blondell has six pictures, the majority portraits. No. 80, ‘Portrait of a Lady,’ half-length, is a pleasing picture; warm in color and carefully painted, and gives evidence of rising talent. The head is perhaps slightly deficient in careful drawing; but few artists are competent to paint a lady’s portrait; and this gentleman should not feel discouraged, though his work be found slightly deficient in that grace which is so difficult of attainment.

Boddington, (London,) exhibits three landscapes, all in a style peculiarly belonging to the English school. They possess great charms; facility of execution, and delicacy of handling.

Bonfield.—No. 168 is perhaps the best of his productions. If it were not for the pinky hue of the sky, this would indeed be a charming picture.

F. Bayle.—No. 25; ‘Picture-Dealer.’ A deep-toned, carefully-painted picture, and evincing much promise in so young an artist. We are glad to perceive that it is purchased by the American Art-Union.

G. L. Brown.—No. 400; ‘View of the Tiber.’ Too much of an imitation of old pictures. In seeking this quality, the artist has lost sight of the truth and freshness of nature.

Chapman, N. A.—Mr. Chapman presents nine pictures this season, and all in his usual brilliant style. No. 116, ‘Peasant Girl of Albano,’ is exceedingly rich in color, and forcible in effect: a few cool tints about the head-dress would give perhaps still greater value to the warm tones. No. 189, ‘Hebrew Women,’ is this artist’s gem of the year. Well composed, pleasing in color, and carefully finished, it expresses the occurrence with fidelity and truth. No. 204, ‘Boy in Indian Costume,’ is an attractive picture; but No. 213, ‘On the Fence,’ is more to our liking. The story is well told; the city beau is carefully and truly represented; and the dogs are admirable. No. 263, portrait of Doctor Anderson, the father of wood-engraving in this country, is capital. No. 266, ‘Lazy Fisherman,’ is Laziness personified. No. 341, ‘Sketch from Nature,’ in water-colors, is an exemplification of this gentleman’s versatility of talent.

J. G. Clonney, A., has two pictures in the exhibition, Nos. 7 and 160. No. 7, ‘The New-Year’s Call,’ is decidedly the best. The negro is well painted. Mr. Clonney’s works generally evince great observation of nature in this class of subjects.

T. Cole, N. A.—Mr. Cole exhibits but one picture, and that comparatively a small one. It possesses however many of the admirable characteristics of his works, particularly his early ones. It would be difficult to find a middle-ground and distance surpassing those of this picture.

T. Crawford, (Rome.)—Mr. Crawford gives us two full-length statues, in which the charm of the marble is strongly apparent. Mr. Crawford, we grieve to say, is evidently too impatient in the finish of his works to produce that correctness which is essential to a high effort of art.

J. F. Cropsey.—No. 68, ‘View in Orange County,’ is a careful representation of nature, and has the appearance to our eyes of having been painted on the spot; a practice very rarely to be found in young artists. A continuance in this course will place this artist in a prominent position as a landscape-painter. The sky is faulty in color, being too purple to meet our views of nature; and there is a lack of delicacy in the more receding portions of the work. But the fore-ground is carefully painted, and full of truth.

Cummings, N. A.—Mr. Cummings has but one picture. It possesses however the careful finish, gentlemanly character, and general truthfulness, so characteristic of this fine artist.

T. Cummings, Jr., a young artist. No. 149, ‘The Ball,’ is his best work. In thus attempting a subject of great difficulty of execution, he evinces promise of future ability. The picture has many pleasing points, marked however with some errors, which time and practice, let us hope, will correct.

C. Curtis.—Mr. Curtis has two pictures in the exhibition, and both of merit. No. 196 is among the best heads in the collection.

J. W. Dodge, A.—‘Miniature Portraits.’ Those of Henry Clay and Gen. Jackson are the most prominent. The likenesses are good, and the pictures carefully finished; a merit in works of this character frequently unattended to. There is, however, a want of dignity sometimes to be found in Mr. Dodge’s portraits, which we could wish to see remedied: it would give an elevation to his paintings which they at present lack.

Paul P. Duggan.—‘John the Baptist’ is a model in plaster, which displays greater knowledge of anatomy than we are in the habit of finding in the works of even older artists. In this respect it possesses great merit. We understand it is his first effort in modelling. As such, it is truly a work of the highest promise.

Durand, N. A.—Mr. Durand has contributed largely to the present exhibition, in every sense of the word. His most prominent production is No. 36, ‘The Solitary Oak.’ For an exhibition-picture, perhaps it is not so striking as some of his previous works; yet it will bear examination better. Without any effort at warmth of color, it has that glow of sunlight which it is so difficult to express. A veteran tree, standing alone upon a gentle eminence, stretching forth its giant arms, that have withstood the storms of centuries, is truly a noble subject for an artist of Mr. Durand’s reputation; and most truly has he depicted it. The distance is beautiful, and the introduction of cattle seeking their evening shelter gives an interest seldom to be found in works of this class. Should we attempt to find a fault, it would be the want of a little more warmth and clearness in the dark parts of the fore-ground. No. 134, another charming landscape; true to nature, of a silvery tone, and most exquisite sweetness of color and delicacy of touch. Nos. 181 and 258 are two careful studies from nature, wherein special care has been given to the trunks of trees, a feature in landscape-painting upon which sufficient attention is rarely bestowed. No. 244, ‘Emigrant Family,’ is full of interest. The travelling family are encamped under the shade of the trees, and the kettle hung over the fire shows that they are evidently preparing to refresh themselves for farther toil and journeying. The foliage of the trees is elaborately executed; the distance is well preserved; and the whole possesses great truth to nature; perhaps however, like all ‘green’ pictures, it is less attractive in an exhibition than works of a warmer color. No. 163, ‘Portrait of a Gentleman,’ has great force, and shows the artist’s versatility of genius.

F. W. Edmonds, N. A.—No. 105, ‘Beggar’s Petition,’ is a spirited and faithful representation of the cold indifference to the wants of others, displayed in the miser’s disposition. The figures are of life-size, and well drawn. The female supplicating in behalf of the distressed, is graceful in attitude, and admirably contrasted with the hoarding miser. No. 205, ‘The Image Pedler,’ is an effort of a higher order; for the artist has attempted, and successfully too, to elevate the class of works to which it belongs. In short, he has invested a humble subject with a moral dignity, which we hope our younger artists, who paint in this department, will not lose sight of. An independent farmer has his family around him, apparently immediately after dinner, and a strolling pedler appears among them, to dispose of his wares; and this gives interest to the whole group. The grandmother drops her peeling-knife, and the mother takes her infant from the cradle, to gaze at the sights in the pedler’s basket. The husband, who has been reading in the cool breeze of the window, turns to participate in the sport; while the grandfather takes a bust of Washington, places it on the table, and commences an earnest elucidation of the character of the, ‘Father of his Country’ to the little children around him. All the figures are intelligent, and the whole scene conveys to the mind a happy family. In color, light and shade, and composition, it is masterly; and we see in it that minuteness of detail and careful finish are not incompatible with a broad and luminous effect.

C. L. Elliott has five portraits in the exhibition. His ‘Full-length of Gov. Seward’ is a prominent one, although not his most agreeable picture. No. 61 is we think the best, and is a well-managed portrait, both in drawing and color.

G. W. Flagg, H.—No. 63, ‘Half-length of a Lady,’ has considerable merit. It is rich and mellow in color, and better we think than many of Mr. Flagg’s recent works. No. 208, ‘The Widow,’ is a popular picture; pleasing in expression, and possessing more refinement of character than is observable in many of his other portraits. No. 102, ‘Bianca Visconti,’ we do not admire.

G. Freeman.—Miniature portraits, generally large, and highly finished. This gentleman has lately arrived from Europe, and is we believe a popular artist; yet we do not like his productions.

J. Frothingham, N. A.—Nos. 32 and 35: portraits exhibiting Mr. Frothingham’s usual bold and free style in this department of art; remarkably fine likenesses; true in color, and of pleasing general effect.

H. P. Gray, N. A.—Mr. Gray exhibits a number of his works this season. He seems to us to sacrifice every thing to color; and his color is not such as is generally seen in nature, but rather what he has seen in pictures. This we think a mistake, and one which we must be permitted to hope he will rectify. In the pictures which he formerly painted, a much closer attention to nature is observable. Mr. Gray has all the feeling of an artist, with no ordinary talent; and we regret to find that he wanders from the direct path. We were among the first, if not the very first, to call public attention to his merits, and it is with reluctance that we perform the duty involved in these animadversions. ‘Comparisons,’ Dogberry tells us, ‘are odorous;’ we cannot help remarking, however, that Mr. Gray’s old fellow-student, Huntington, is (longa intervallo) in the advance. We prefer, of our artist’s present efforts, the picture of ‘His Wife.’ It has a pleasing effect, and is more finished than usual, and more natural in tone than his ‘Magdalen.’

J. T. Harris, A., has two pictures, and both portraits. No. 19 is the best. It exhibits a broad, free touch, and correct drawing, and is withal an excellent likeness. But we never look at Mr. Harris’ works without being impressed with the idea that they are not finished. They seem to us, to borrow an artistical expression, as if they were in a capital state for ‘glazing and toning up.’ Otherwise, they are above the ordinary run of portraits.

G. P. A. Healy, H.—Mr. Healy is a resident of Paris, but an American. He is a favorite at the French court, and has by this means a reputation to which his works generally do not entitle him. We are bound in justice to say of his present effort, however, that it is an exceedingly fine picture. It is boldly and masterly executed; forcibly drawn, honestly colored, and well expressed. There is too about it a freedom from all the usual tricks of the profession, such as a red chair, velvet collar, and fantastic back-ground, which we particularly recommend to the attention of young artists.

Thomas Hicks, A., has eight pictures in the collection, but none, excepting his portraits, which equal his former productions. No. 264, ‘The Mother’s Grave,’ is an oft-repeated subject, and should not be attempted unless the artist is able to treat it with entire originality. There are good points about it, but none sufficiently attractive to warrant particular notice.

Ingham, N. A., as usual has a fine collection of female portraits, all excellent for their careful drawing, lady-like expression, and high finish. The drapery and accessories of Mr. Ingham’s portraits are always wonderfully exact to nature; and this greatly enhances the value of portraits of this description; for aside from their merit as likenesses, they will always be valuable as pictures. His male portrait, No. 113, of T. S. Cummings, Esq., is a most admirable likeness, as well as a highly-wrought and masterly-painted picture. No. 239, ‘Portrait of a Lady,’ with a fan in her hand, is our favorite among his female heads. There is a sweetness and modesty in the expression, not only in the countenance but in the whole figure, which makes it peculiarly attractive.

H. Inman, N. A.—No. 62, ‘Portrait of the late Bishop Moore, of Virginia,’ is the admiration of all who behold it. In color it surpasses any thing of Mr. Inman’s we have seen in many a day. Clear and luminous, with great breadth of light, and a mild, pleasing expression. We of course mean this to apply to the head. The hand and part of the drapery are not, in our judgment, so well done. No. 104, ‘Lady with a Mask,’ we do not altogether like; yet it is remarkable for being foreshortened in every part, and possesses that singular charm of light and shadow, and accidental effect, which are the characteristics of our artist’s pencil. No. 314, a Landscape, although small, is delicately handled, and ‘touched in’ with great neatness and accuracy. In effect it is attractive, and in color pleasing. The figure in the fore-ground equals in care and minuteness of finish the manner of Wouvermans.

N. Jocelyn.—No. 57, ‘Portrait of Professor Silliman,’ a faithful likeness, and carefully-painted portrait of a distinguished individual. No. 2, ‘Portrait of a Child,’ is another finished picture by this artist; clear and pearly in color and infantile in expression.

Alfred Jones.—No. 301, an engraving from Mount’s picture of ‘Nooning,’ for the American Art-Union, is one of the largest line-engravings ever published in this country, and a work of high order. This style of engraving has heretofore received so little encouragement, that until the Art-Union started it, no one except Mr. Durand had ever before dared to attempt it. This effort of Mr. Jones does him great credit.

M. Livingstone, A., has several works in the exhibition, but we cannot rank them among the higher class of landscapes. They lack the poetry of landscape-painting; but as amateur productions, they are very good.

E. D. Marchant, A.—All portraits, but none of high merit. Mr. Marchant is a persevering artist, who paints good likenesses and pleasing pictures; and so far, is doubtless popular with those who employ him.

John Megarey has two portraits, and those far surpassing his former works. They are carefully painted, without an effort at any thing beyond the subject before the artist.

We shall resume and conclude our remarks upon the exhibition in our next number.

Gossip with Readers and Correspondents.—We are about to enter upon the TWENTY-FOURTH volume of the Knickerbocker, for the advertisement of which, please note the second and third pages of the cover of the present number. We have nothing farther to add, than that ‘what has been, is that which shall be,’ in our onward progress. This Magazine, much the oldest in the United States, has been established, by the ever-unabated favor of the public, upon a basis of unshaken permanence. Its subscription-list fluctuates only in advance; it has the affection of its readers, and all concerned in its production and promulgation, to a degree wholly unexampled; and it is designed not only to maintain, but continually to enhance, its just claims upon the liberal patronage of American readers. The arrangements for the next volume, if they do not ‘preclude competition,’ will be found, it is confidently believed, to preclude any thing like successful rivalry, on the part of any of our contemporaries. On this point, however, we choose as heretofore to be judged by the public. ••• We gave in a recent issue two or three extracts from a lecture on ‘The Inner Life of Man’ delivered by Mr. Charles Hoover, at Newark, New-Jersey. This admirable performance has since been repeated to a highly gratified audience in this city; and from it we derive the following beautiful passage, which we commend to the heart of every lover of his kind: ‘It is a maxim of patriotism never to despair of the republic. Let it be the motto of our philanthropy never to despair of our sinning, sorrowing brother, till his last lingering look upon life has been taken, and all avenues by which angels approach the stricken heart are closed and silent forever. And in such a crisis, let no counsel be taken of narrow, niggard sentiment. When in a sea-storm some human being is seen in the distant surf, clinging to a plank, that is sometimes driven nearer to the shore, and sometimes carried farther off; sometimes buried in the surge, and then rising again, as if itself struggling like the almost hopeless sufferer it supports, who looks sadly to the shore as he rises from every wave, and battling with the billow, mingles his cry for help with the wild, mournful scream of the sea-bird; nature in every bosom on the shore is instinct with anxious pity for his fate, and darts her sympathies to him over the laboring waters. The child drops his play-things, and old age grasps its crutch and hurries to the spot; and the hand that cannot fling a rope is lifted to heaven for help. What though the sufferer be a stranger, a foreigner, an enemy even? Nature in trouble, in consternation, shrieks ‘He is a man!’ and every heart and hand is prompt to the rescue.’ ‘To a high office and ministry, to a life of beneficence, pity and love, each man should deem himself called by a divine vocation, by the appointment of nature; and otherwise living, should judge himself to be an abortion, a mistake, without signification or use in a world like ours. And the beauty, the glory of such a life, is not to be reckoned among ideal things heard out of heaven but never encountered by the eye. This world has had its Christ, its Fenelons, its Howards, as well as its Caligulas and Neros. Love hath been at times a manifestation as well as a principle; and the train of its glory swept far below the stars, and its brightness has fallen in mitigated and mellowed rays from the faces of men. As the ambiguous stranger-star of Bethlehem had its interpreting angel-song to the herdsmen of the plains, so loving men in all ages have given glimpses and interpretations of the love of God, and of the pity that is felt for the miserable and the guilty in the palace and presence-chamber of Jehovah. What glory within the scope of human imitation and attainment is comparable to that of the beneficent, the sympathising lover of his race? What more elevated, pure, and beautiful is possible among the achievements of an endless progression in heaven itself? Milton represents the profoundest emotions of joy and wonder among the celestial hosts as occasioned by the first anticipative disclosures of divine pity toward sinning man; and a greater than Milton assures us that the transport and festival of angelic joy occurs when Pity lifts the penitent from his prostration and forgives his folly.’ ••• Embellishment would seem to be the literary order of the day, in more ways than one. It has come to be the mode to express the most simple thought in the most magniloquent phrase. This propensity to lingual Euphuism has given rise to sundry illustrations, in embellished maxims, which are particularly amusing. They are of the sort so finely satirized by ‘Ollapod,’ on one occasion, two or three examples of which we annex. The common phrase of ‘’Tis an ill wind that blows nobody any good’ was transformed into ‘That gale is truly diseased which puffeth benefactions to nonentity;’ ‘Let well enough alone,’ into ‘Suffer a healthy sufficiency to remain in solitude;’ and ‘What is sauce for the goose is sauce for the gander,’ into ‘The culinary adornments which suffice for the female of the race Anser, maybe relished also with the masculine adult of the same species.’ Some London wag, in a kindred spirit, has illustrated the cockney song, ‘If I had a donkey as vouldn’t go, do you think I’d wallop him?’ etc., as follows: ‘The herbaceous boon and the bland recommendation to advance, are more operative on the ansinine quadruped than the stern imprecation and the oaken cudgel:

‘Had I an ass averse to speed,

I ne’er would strike him; no indeed!

I’d give him hay, and cry ‘Proceed,’

And ‘Go on Edward!’’

The same species of satire is now and then visited upon the ‘Troubadour Songs,’ which have become so afflictingly common of late years. Some of these we have already given; and we find them on the increase in England. We have before us, from the London press of Tilt and Bogue, ‘Sir Whystleton Mugges, a Metrical Romaunte, in three Fyttes,’ with copious notes. A stanza or two will suffice as a specimen. The knightly hero, it needs only to premise, has been jilted by his fair ‘ladye-love,’ who retires to her boudoir, while the knight walks off in despair:

‘Hys herte beat high and quycke;

Forth to his tygere he did call,

‘Bring me my palfrey from his stall,

For I moste cotte my stycke!’

‘Ye stede was brought, ye knyghte jomped up,

He woulde not even stay to sup,

But swyft he rode away;

Still groanynge as he went along,

And vowing yet to come out stronge,

Upon some future day.

‘Alack for poore Syr Whystleton,

In love and warre so bold!

Ye Ladye Blanche hym browne hath done,

He is completely solde!

‘Completely solde alack he is,

Alack and wel-a-day;

Mort Dieu! a bitterre fate is hys

Whose trewe love sayth him nay!’

Thus endeth ‘Fytte ye First.’ We learn from the preface that the ‘Rhime of the Manne whose Mothre did not Know he was Out,’ and ‘Ye Lodgemente of Maistre Fergisoune,’ are also in the editor’s possession, but owing to the imperfect state of the MSS., it is doubtful whether they will ever be published. They have however been submitted to the inspection of ‘The Percy Society!’ ••• We are well pleased to learn that Sir Edward Lytton Bulwer, the distinguished author, is soon to visit the United States. That he will be warmly welcomed and cordially received, we cannot doubt; but we have good reason to believe that in the present instance at least our admiration of true genius will be tempered by all proper self-respect. Mr. Bulwer has for many years entertained a desire to visit America. In one of his letters to the late Willis Gaylord Clark, now lying before us, he writes: ‘I have long felt a peculiar admiration for your great and rising country; and it gives me a pleasure far beyond that arising from a vulgar notoriety, to think that I am not unknown to its inhabitants. Some time or other I hope to visit you, and suffer my present prepossessions to be confirmed by actual experience.’ ••• We have received and perused with gratification the last report of the ‘New-York Asylum for Deaf Mutes.’ The institution is in the most flourishing condition, and its usefulness greatly increased. We are sorry to perceive, by the following ‘specimen of composition’ of a pupil in the eighth class, that the ‘Orphic Sayings’ of Mr. A. Bronson Alcott are taken as literary models by the deaf and dumb students. The ensuing is certainly much better, internally, than anything from the transcendental ‘seer;’ but the manner too nearly resembles his, for both to be original. There is the same didactic condensation, the same Orphic ‘oneness,’ which distinguishes all Alcottism proper. It is entitled ‘Story of Hog:’

‘I walked on the road. I stood near the water. I undressed my feet. I went in the water. I stood under the bridge. I sat on the log. I washed my feet with hands. I looked at large water came. I ran in the water. I ran out the water. The large water floated fast. I afraid. I wiped feet with stockings. I dressed my feet with stockings and shoes. I went on the ground. I stood on the ground. I seen at the hog ate grass. The hog seen at me. I went on the ground. I ran. The hog heard. The hog looked at me. It ran and jumped. The hog ran under the fence and got his head under the fence and want to ran out the fence! I caught ears its hog. The hog shout. I pulled the hog out the fence. I struck a hog with hand. I rided on the hog ran and jumped fast. The hog ran fell on near the water. I rided off a hog. I stood. I held one ear its hog. The hog slept lies on near the water. I waited. I leaved. I went from the hog. The hog awoke. It rose. It saw not me. It ran and jumped. The hog went from the water. The hog went in the mud and water. The hog wallowed in the mud and water became very dirty. It slept. I went. I went into the house.’

The Ekkalaeobion is the name given to an establishment opposite the Washington Hotel, in Broadway, where the formation of chickens, ab initio, is ‘practised to a great extent.’ And really, it is in some respects an awful exhibition, to a reflecting mind. It is as it were a visible exposition of the source of life. You see the pulse of existence throbbing in the yet unformed mass, which assumes, day after day, the image of its kind; until at length the little creature knocks for admittance into this breathing world; steps forth from the shell in which it had been so long ‘cabined, cribbed, confined, bound in;’ and straitway walks abroad, ‘regenerated, disenthralled,’ and ready for its ‘grub.’ By all means, reader, go and see this interesting and instructive exhibition. It is provocative of much reflection, aside from the mere contemplation of it as a matter of curiosity. ••• The correspondent who sends us the following, writes upon the envelope containing it: ‘I have endeavored to preserve the measure of the original, and at the same time to present a literal translation.’ It will be conceded, we think, that he has been successful in his endeavor. Perhaps in some lines (as in ‘Pertransivit gladius’) the translation is a little too literal: