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Histoire Critique et Militaire des 'tice. He is dignified and noble in the Guerres de la Révolution :-Critical

recital of events, animated in the de.

scriptions of military evolutions and and Military History of the Wars of engagements, and luminous in his dethe Revolution. By General Jomi- scriptions of the plans and maneuvres ni, Aid-de-Camp of the Emperor of of a campaign.

The critical and military history of of Russia. Part I. 6 vols. 8vo. with

General Jomipi is not merely a recital an Atlas. Paris. 65 francs.

of operations carried on by stratagem.

The author has evidently felt, that the This is the completest work ever of

success of battles has a necessary confered to the public on the subject of a

pexion with the progress of political struggle, which will ever present a bold events; and he endeavours to make us and prominent feature in the annals of feel the existence of this connexion history. The author, indeed, has taken during the campaigns of which he a most extensive scope in designing treats, and even during the period which the plan of his history; for the part immediately preceded it. His political already published, though it contains views are, in general, comprehensive six volumes, is confined to the cam- and profound, two qualities which parpaigns of 1792, 1793, and 1794. ticularly designate the author's talent. The author might properly prefix to

The opinions which he advances on the this work the expression which the motives of action, and the events to Roman poet put into the mouth of his which they gave rise, are proofs of hero,

great wisdom and impartiality.

We dwell upon these evidences 'of -quæque ipse miserrima vidi

merit, feeling as we do, that they are Et quorum pars magna fui;

qualities which are rarely met with in for he has evidently engaged in the those, who treat of the important events work as a person strongly interested in of the French Revolution. every thing he relates. He is always full of his subject, and always describes as a real actor, not as a philosophic

De la Revolution Piedmontaise, &c. observer. His thoughts are bold, and -Of the Revolution of Piedmont. not biassed by any influence but that of truth; yet the ardour of his imagi

Second edition, revised, corrected, nation seems to have led him beyond and enlarged, by an Analysis of the the rigid limits which the severer laws Sicilian Constitution. 1 vol. 8vo. of historical writing allow. It is the business of the historian to proceed im- Paris, 1822. mediately to his object, and never to

This work, the first edition of which wander from the direct course into the

was sold in eight days, is attributed to. smiling retreats and captivating bowers, the Count de Santa Rosa, minister of wbich the arts and sciences, the repre- war at Piedmont, during the revolution sentations of fancy, and the creations of 1821. This historic document is the of poetry, have scattered around it.

more valuable as the author treats in it More skilled in the science of the

of many persons who were opposed to sword than in that of the pen, he has him in the ranks of war, with a degree not attained that happy art which knows of frankness and impartiality which is how to concentrate profound ideas, and seldom met with in those who attach to throw them into that concise and themselves to a party, and particularly, picturesque form which gives them to a party that suffers under oppression. energy and splendour in an equal degree. He also wants the rapid simpli. city, the imperatoria brevitas of Cæsar, Voyage en Sicile, fait en 1820, et in his commentaries, and of Bonaparte 1821, &c. :-Travels through Sicily, in his instructions;-a rapidity so suitable to the language of a general who

in 1821, By Augustus de Sayve. gives an account of his military labours. 3 vols. 8vo. 18 francs. Paris. 1822. It must not, however, be denied, that though he is far from having attained The travels of M. Sayve is only a the elegance and simplicity of the mo. natural history of the country, its podels which have been left us by the litics, literature, archaiology, and inancients, though he is seldom chastelydustry. The first volume, and a consiclassical in his style, he possesses, not- derable portion of the second, is dewithstanding, some qualities that must voted to itinerary. In the second vo. greatly recommend him to public no- lume he treats at some length ou the

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ancient political organization of Sicily,

ments only of the history of Savoy. its constitution in 1813, and the want

He commences by a summary of the of stability in its present political state.

history of Savoy before Berold, that Some portion of the third volume is

is, from the period in which Savoy bestowed on the sciences in particular,

became subject to the Romans, to the and on the Sicilians who have shed lus- year 998. He then divides his bistre upon them by their works. The

torical abridgment into three parts, the work concludes with general observa

first containing the Counts, the second tions on volcanos, and a summary of

the Dukes, and the third the Princes of Sicilian history. What appears most

Savoy. The first embraces a period of

four hundred and eighteen, the second interesting in this work is the journey to Mount Etna, and the observations to

of three hundred and two, and the third which it gave rise; and the feeblest

ofninety-seven years. The author has departs are, perhaps, the proper history

voted six chapters to the state of religion, of Sicily itself. His description of government, and the administration of Etna, however, is not only characteri- justice, the public revenues, armed zed by elegance of language, but cal

force, industry, commerce, literature, culated to inspire us with sublime emo

public instruction, and the different tions.

eras of the history of the country; and eight chapters, to the events attend

ing the revolution to the entry of Francis Abregé de l'Histoire de Savoie :- into Savoy. It is doubtful, whether this An A bridgement of the History of last part will obtain the approbation of

all classes of readers. This Abridgment, Savoy, from the time of the Romans

though small, will serve to convey an to the Restitution of the Duchy to elenientary idea of the history of Savoy,

and create a desire to become more the King of Sardinia. 1 vol. 12mo.

amply acquainted with the annals of The author probably intended to that country, and the house by which convey in this little work the ele. it is governed.


Bracebridge Hall; or, the Hu- our regard. There is nothing principal, mourists. By Geoffrey Crayon, Gent. nothing secondary, and they all present

themselves as a perfect whole. As a 2 vols. 8vo. 24s. London, 1822.

marked countenance is much easier We cannot perceive why the ex- painted than a beautiful face, so are planatory title of “The Humourists" rustic and vulgar much easier painted should be superadded to this work, as than elegant manners. But though the there is not one humourous character manners of a clown or a country gen. described in it from beginning to end. tleman may appear sufficiently awkThey are all such characters as are ward and ridiculous to us, we consider every day met with in the country

neither of them as a humourist, nor do parts of England, particularly such they appear so to each other. But parts as are mo excluded from an while we object to the title, we are far intercourse with London, and the prin- from quarrelling with the execution of cipal cities, where the strong and pic

the work before us. To deny its meturesque features of old English man- rits, would be to acknowledge ourselves ners can seldom be traced through the

devoid of all taste and feeling. The softer aspect of modern elegance and characters described in “ Bracebridge refinement. There is nothing pictu- Hall" present us with the most beautiresque or characteristic in refined man- ful, and, at the same time, with the ners, and, therefore, they are but ill most faithful models of primitive Engadapted to painting or poetry, because lish manners, judging of them from the they present no feature sufficiently pro- remains which are still among us, and minent to attract particular notice.- which, in many parts of England, may Even if refined manners were painted

not become extinct for centuries to to the life, there could be little interest

The author has sketched his excited by the portrait, because all the portrait of these manners from the infeatures so perfectly harmonize with mates of " Bracebridge Hall,” its occaeach other, that none of them can com- sional visitors, and the neighbouring mand particular attention, as each of inhabitants, and we have no hesitation them seems to possess an equal claim to in saying, that he has fully supported



the character which his “ Sketchbook” assembled like boon companions round has already so deservedly procured for a puddle, and making a riotous noise him. He may be justly called, " the over their liquor.” American Brayere,” with the only dif- There are few writers of the day perference, that Bruyere described the fectly free from the use of hacknied, manners of his own countrymen, while modern phrases; but in the author of our author has painted those of a coun- “ Bracebridge Hall” we cannot trace try, in which he acknowledges himself even a vestige of them. In one into be still a stranger. In picturesque stance, he uses the term," it was quite description, however, he leaves Bruyere refreshing,” but adds, in a parenthesis far behind him. Even Sterne did not (if I may be allowed a hacknied phrase possess the art of exciting imagination of the day.) His style s that of nain so powerful a manner. In the de- tural and unaffected eloquence. Not scription of the “Stout Man,” attention only his ideas, but his expressions, and expectation is kept continually on seem to flow spontaneously from his the wing; and when the picture is pen, nor is it possible to trace the completed, we know as little what to slightest appearance of labour or effort. make of the “ Stout Man" as when he The style of the “ Sketch-book” was was first introduced to us.

This was

easy and eloquent, compared to that of admirably conceived, and proves our other writers, but yet it wanted the author a perfect master in his art. freedom of “ Bracebridge Hall,” a cirPainting could produce no such effect, cumstance which we can only attribute and we recollect no instance of it even to that facility of expression which is in poetry. His description of " A Wet obtained by experience and practice. Sunday in a Country Inn," is in the His delineation of manners is so faithfinest style of picturesque colouring fully executed, that we always imagine We cannot forbear presenting it to our are acquainted with the person readers. The rain pattered against whom he is describing, or at least with the casements ; the bells tolled for some person of the same original stamp church with a melancholy sound.-I. of character. The expressions which went to the windows in search of some- he puts into the mouth of General Harthing to amuse the eye, but it seemed bottle after dinner, whose loyalty, he as if I had been placed completely out says, waxes very fervent with his of the reach of all amusement. The second bottle, and who gets into a perwindows of my bed-room looked out fect ecstasy when he hears “ God save among tiled roofs and stacks of chim- the King,” exposes, more than all the nies, while those of my sitting-room logic of political wisdom, the motives commanded a view of the stable-yard, which jpĀuence those who argue against The place was littered with wet straw the existence of public distress. “ They that had been kicked about by travellers talk of public distress,” said the Geneand stable.boys. In one corper was ral this day to me at dinner, as he a stagnant pool of water, surrounding smacked a glass of rich Burgundy, and an island of muck; there were several cast his eyes about the ample board; half-drowned fowls crowded together, " they talk of public distress, but under a cart, among which, was a mi- where do we find it, Sir? I see none. serable, crest-fallen cock, drenched out I see no reason any one has to com, of all life and spirit; his drooping tail plain. Take my word for it, Sir, this matted, as it were, into a single feather, talk about public distress is all humalong which the water trickled from his bug." back. Near the cart, was a half-dozing The great merit of “ Bracebridge cow, chewing the cud, and standing Hall” is the exquisite delineation of patiently to be rained on, with wreaths character, or rather of manners. It is of vapour rising from her reeking side, evident the author intended his cha. A wall-eyed horse, tired of the loneli. racter of “ Ready-money Jack Tibbets" ness of the stable, was poking his for a portrait of John Bull; and, if the spectral head out of a window, with portrait be correct, we must confess, the rain dripping on it from the eaves. that John Bull, with all his bluntness, An unhappy cur chained to a dog-house is far from being placed beyond the hard by, uttered something every now influence of vanity, particularly where and then between a bark and a yelp. he leaves his breeches unbuttoned at A drab of a kitchen-wench tramped the knees, to shew a broad pair of scarbackwards and forwards through the let garters. He has so many good yard in pattens, looking as sulky as qualities, however, that his vanity only the weather itself. Every thing, in serves to prevent us from falling comshort, was comfortless and forlorn, ex- pletely in love with him. We shall cept a crew of hard-drinking ducks conclude by observing, that our author



is no where a copyist; that he takes sepsible lines in the entire introduction his images and descriptions from nature are six, which he puts into the mouth alone, and that he always views nature of his reader by way of ohjection to with the inspired eyes of painting and his winding and irrelevant manner. poetry._In “ Bracebridge Hall," there- We could never have imagined that it fore,—Tout prends un corps, une ame, was to serve as a preface to a descripun esprit, un visage.

tion of a Vale in Savoy, as almost the entire of it is taken up with Scotland,

and The Vale of Chamouni, a Poem

“ The splendour of the Caledonian arms." By the Author of “ Rome.” 8vo.

The poem itself begins with an ada pp. 176. 6s. 6d.

dress, not to Apollo, or any of his daugh

ters, nor indeed to any sentient or inThe reader is naturally led to expect, telligent being, but to bis own shatterfrom the title of the present work, a ed bark!" by which we are unhappily descriptive poem, in which he will be to understand his own poetieal genius; led through all the secret retreats, and that genius which guided him in his vomantic wildernesses of nature. He former attempt. His “ Rome" he thinks will expect to wander promiscuously has been so severely treated by the through those sublime, beautiful and critics, that his poetical bark has been, picturesque scenes which she has scat- shattered by their rudeness. He seems tered with lavish ha

over certain to wonder, however, that so well built portions of the globe, and to return a bark could suffer wreck, and therefrom his poetic excursion laden with fore introduces her shattered condition all the treasures which imagination can with a note of admiration, Poorbestow. “The Vale of Chamouni," or, shattered bark !" He comforts her, indeed, any vale forming the subject of however, by telling her that she was a poem, naturally leads the mind through superior to all the storms that opposed a labyrinth of rural associations, and her course;--if so, we are at some loss descriptive scenery; but in one half of to discover by what means she was the poem before us, and in the entire u shattered.” of the introduction, the external beau- The poet, after contemplating the ties of nature are seldom presented to injuries which he had received from the wistful eye of imagination; and we the critics in his former poetic attempt, are obliged to be contented with nar. turns to Switzerland, and takes an opratives as little related to each other, portunity of lamenting the evils of slaas the proscriptions of Sylla to the very.—The author is a strong advocate loves of Pyramis and Thisbe. We can for liberty; but yet there is a levity in perceive no connection between the his muse which we cannot easily reconlinks that connect two different scenes cile with that sacred flame which freeor relations together; and we revolt dom inspires. He skips about perpeat the unnatural manner in which we tually, without rhyme or reason, so that are thrust forward, and obliged to wade he seldom produces a deep effect. He through the recital of circumstances has evidently a talent for rhyming, for and events, which have as little con- his versification is smooth, and seems nection with the “Vale of Chamouni,"or to be executed with great facility; but with each other, as those which we what he has gained in facility, he has have just mentioned. The author pre- lost in dignity. He gives a very pleasfaces his poem with a poetical intro- ing description of the “ capricious duction of four hundred and four lines, taste" exemplified in the costume of supposed to be written 'at Inverness. the Helvetians, and of prospects from The chief and prevailing fault of this Ferney and the Jura Mountains; but poem is, that there is no obvious con- in the entire of the first part of his Dection between its different parts; poem, which forms half the work, he that every time the subject changes, it never leads us once to the 6 Vale of changes capriciously; that the pre- Chamouni,” which is the proper subvailing idea in one part, section, or pa- ject of his song. All this part is preragraph, does not suggest that which paratory to an arrival at the Vale, and immediately follows; and that, conse- in most parts as little connected with quently, every paragraph seems a dis- it as the introduction. To this, howtinct poem in itself. The entire of the ever, we have no other objection than introduction is a series of unconnected its disagreeing with the title of the thoughts; and the whole of them put work, for the poet leads us occasiontogether has no connection with the ally through a variety of pleasing " Vale of Chanouni.” Indeed, the only scenes and interesting relations, which Eur. May. Vol. 82.


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are suggested by other parts of Swit- Browne. His " Pseudodoxia Epidemizerland. Nor are we merely entertain- ca, or Vulgar Errors,” his « Quincunx," ed with descriptive scenes and beauti- and “ Religio Medici," have been proful landscapes, but the persons whom perly omitted by the editor of the prethey commemorate are also introduced sent edition, the former being too long to us, and agreeably diversify those to appear, except in a complete edition pictures of external nature which the of his works; and the latter too apt to poet describes, and which would other- create sceptical views of things which, wise possess too still and sombre a even if ideal, constitute a great portion character to give any permanent plea- of our real happiness; and which consure. The poet has therefore very art. sequently it can be neither wisdom por fully, but at the same time very judi, philosophy to explode, could even their ciously, made Voltaire, Madame de inexistence be mathematically demonStael, Gibbon, Rousseau, Frederic Es- strated. There is another reason why chen, &c. appear in different parts of we think that the tracts contained in his painting, so that he leads us very this edition have been selected with agreeably through Bonneville, Cluse, great judgment by the present editor, Cavern of Balme, Groves of Magland, namely, because it is from these very Cascade of Balme, the Savoyard, &c. tracts that Sir Thomas Browne has been till he brings us within the sight of justly called the most extraordinary the “ Vale of Chamouni."

writer in the English language. His Our limits oblige us to leave our other works are not of so unique and poet and our readers at the entrance of determined a character, and in perusthis sublime and awful vale. Such of ing them, we cannot always discover them as love the grand and the terrific from the style alone, that they are his of nature must peruse this part of the productions. They are not like the poem with mingled astonishment and present tracts, a mirror that always redelight. The poet has certainly di- flects a faithful picture of the original. vested himself of a great portion of Here he is always himself, and we can that levity of manner which characte- never mistake him for any other Engrizes his introduction particularly. He lish writer. His singularity appears seems to have written the last part of as well in his style as in his manner of his poem, or the description of the vale thinking. We are always at a loss to itself, under the awful impressions, know whether he is serious or in jest ; which the surrounding scenes are cal. for even when he is evidently jesting, culated to inspire in every breast, that he puts on a serious face, and addresses responds to the influences and harmo- us so gravely, that we can hardly think nies of the sublimer productions of na- him otherwise than in earnest. Yet ture. This is no slight evidence of there is no obscurity in his style : his rising genius. The dunce, and the diction is always so clear and perspiwriter of heavy intellect, puts forth all cuous, that he who runs may read. his energies at the first onset, and af- But though his style is clear, it is still terwards sinks into tame insipidity;

as characteristic of him as his manner but the writer of native genius, though of thinking. He is full of elisions, so in his first attempts he betrays at every full, indeed, that it is impossible to step the faults, which unavoidably cling omit a word in any sentence which he to inexperience and want of maturer has pot omitted himself. judgment, still rises progressively in

To a reader not accustomed to this strength and vigour, and gives new in- style, it may possess a slight degree of terest to every scene and situation obscurity at first; but we only read a which he describes. The defects of few pages when this obscurity vanishes, the work before us result, we believe, and we are only surprized to meet with from this source alone; it has many

a verb where it could be omitted. In beauties to compensate for its faults,

imitation of the Latins, he is fond of and even its faults contain latent cvi. the inverted style, and has a good deal dences of the author's genius, and

of Montaigne in his manner of thinkprove themselves to be only the blame. ing, except that he always keeps to his less offspring of inexperience.

subject more or less, while Montaigne frequently takes us into a new world

altogether. They agree however in Tracts by Sir Thomas Browne, this, that Montaigne is always seeking Knight, M.D. 12mo. pp. 183. Edin. for objections to what he advances

himself, while Sir Thomas is eternally burgh, 1822.

qualifying his assertions by the intro. The work before us does not contain duction of some unexpected idea, that all the productions of Sir Thomas always serves to render them more

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