Another stanza shows the practical usefulness of the hoop:--
"Pray, hear me, dear mother, what I have been taught:
Nine men and nine women o'erset in a boat;
The men were all drowned, but the women did float,
And by help of their hoops they all safely got out."
The fashion for hoops was revived in 1711, in which year was published in England "A Panegyrick upon the Late, but most Admirable Invention of the Hoop-Pettycoat." A few years later, (1726,) in New England, a three-penny pamphlet was issued with the title, "Hoop Petticoats Arraigned and Condemned by the Light of Nature and Law of God," by which it would seem that our worthy ancestors did not approve of the fashion. In 1728 we find hoop-skirts and negro girls and other "chattels" advertised for sale in the same shop!
The celebrated song, "Tobacco is an Indian weed," is traced to George Withers, of the time of James I. Perhaps no song has been more frequently "reset"; but the original version, as is generally the case, is the best.
One of the most satisfactory features of Chappell's work is the thoroughness with which he traces the origin of tunes, and his acute discrimination and candid judgment. As an instance of this may be mentioned his article on "God save the Queen"; and wherever we turn, we find the same evidence of honest investigation. So far as is possible, he has arranged his airs and his topics chronologically, and presented a complete picture of the condition of poetry and music during the reigns of the successive monarchs of England. The musician will find these volumes invaluable in the pursuit of his studies, the general reader will be interested in the well-drawn descriptions of men, manners, and customs, and the antiquary will pore over the pages with a keen delight.
The work is illustrated with several specimens of the early style of writing music, the first being an illuminated engraving and fac-simile of the song, "Sumer is icumen in,"--the earliest secular composition, in parts, known to exist in any country, its origin being traced back to 1250. It should have been mentioned before this that the very difficult task of reducing the old songs to modern characters and requirements, and harmonizing them, has been most admirably done by McFarren, who has thus made intelligible and available what would otherwise be valuable only as curiosities.
1. Folk-Songs. Selected and edited by John Williamson Palmer, M.D. Illustrated with Original Designs. New York: Charles Scribner. 1861. Small folio. pp. xxiii., 466.
2. Loves and Heroines of the Poets. Edited by Richard Henry Stoddard. New York: Derby & Jackson. 1861. Quarto, pp. xviii., 480.
3. A Forest Hymn. By William Cullen Bryant. With Illustrations of John A. Hows. New York: W. A. Townsend & Co. 1861. Small quarto, pp. 32.
We have no great liking for illustrated books. Poems, to be sure, often lend themselves readily to the pencil; but, in proportion as they stand in need of pictures, they fall short of being poetry. We have never yet seen any attempts to help Shakspeare in this way that were not as crutches to an Indian runner. To illustrate poetry truly great in itself is like illuminating to show off a torchlight-procession. We doubt if even Michel Angelo's copy of Dante was so great a loss as has sometimes been thought. We have seen missals and other manuscripts that were truly illuminated,--
"laughing leaves
That Franco of Bologna's pencil limned ";
but the line of those artists ended with Frà Angelico, whose works are only larger illuminations in fresco and on panel. In those days some precious volume became the Laura of a poor monk, who lavished on it all the poetry of his nature, all the unsatisfied longing of a lifetime. Shut out from the world, his single poem or book of saintly legends was the window through which he looked back on real life, and he stained its panes with every brightest hue of fancy and tender half-tint of reverie. There was, indeed, a chance of success, when the artist worked for the love of it, gave his whole manhood to a single volume, and mixed his life with his pigments. But to please yourself is a different thing from pleasing Tom, Dick, and Harry, which is the problem to be worked out by whoever makes illustrations to be multiplied and sold by thousands. In Dr. Palmer's "Folk-Songs," if we understand his preface rightly, the artists have done their work for love, and it is accordingly much better done than usual. The engravings make a part of the page, and the designs, with few exceptions, are happy. Numerous fac-similes of handwriting are added for the lovers of autographs; and in point of printing, it is beyond a question the handsomest and most tasteful volume ever produced in America. The Riverside Press may fairly take rank now with the classic names in the history of the art. But it is for the judgment shown in the choice of the poems that the book deserves its chief commendation. Our readers do not need to be told who Dr. Palmer is, or that one who knows how to write so well himself is likely to know what good writing is in others. We have never seen so good and choice a florilegium. The width of its range and its catholicity may be estimated by its including William Blake and Dibdin, Bishop King and Dr. Maginn. It would be hard to find the person who would not meet here a favorite poem. We can speak from our own knowledge of the length of labor and the loving care that have been devoted to it, and the result is a gift-book unique in its way and suited to all seasons and all tastes. Nor has the binding (an art in which America is far behind-hand) been forgotten. The same taste makes itself felt here, and Matthews of New York has seconded it with his admirable workmanship.
In Mr. Stoddard's volume we have a poet selecting such poems as illustrate the loves of the poets. It is a happy thought happily realized. With the exception of Dante, Petrarch, and Tasso, the choice is made from English poets, and comes down to our own time. It is a book for lovers, and he must be exacting who cannot find his mistress somewhere between the covers. The selection from the poets of the Elizabethan and Jacobian periods is particularly full; and this is as it should be; for at no time was our language more equally removed from conventionalism and commonplace, or so fitted to refine strength of passion with recondite thought and airy courtliness of phrase. The book is one likely to teach as well as to please; for, though everybody knows how to fall in love, few know how to love. It is a mirror of womanly loveliness and manly devotion. Mr. Stoddard has done his work with the instinct of a poet, and we cordially commend his truly precious volume both to those
"who love a coral lip
And a rosy cheek admire,"
and to those who
"Interassured of the mind,
Are careless, eyes, lips, hands, to miss";
for both likings will find satisfaction here. The season of gifts comes round oftener for lovers than for less favored mortals, and by means of this book they may press some two hundred poets into their service to thread for the "inexpressive she" all the beads of Love's rosary. The volume is a quarto sumptuous in printing and binding. Of the plates we cannot speak so warmly.