*433-436. Cuts from Select Fables (1784). good faith. But, for his judgment! He seems, next exhibition of the Academy not exactly a

Exploration Fund. Even more singular is it,
however, that Col. Scott Moncrieff, in his own
letter introducing that of Prof. Maspero to our
contemporary, should ignore the discovery of
Pithom by means of English money, take no
account of the brilliant services of M. Naville,
and remark that "England can send forth no
Egyptologist to share the work of Prof.
Maspero. This, too, in face of the fact (duly
mentioned in Prof. Maspero's accompanying
letter) that Mr. W. Flinders Petrie is even now
actually beginning work at Zoan (San) as the
accredited agent of an English society.

MUSIC.

RECENT CONCERTS.

The solos are

curtailed, and others omitted.
interesting, the chorales wonderfully fine, and
the choruses contain much of Bach's most
pleasing and genial workmanship. Some of
the chorales were sung unaccompanied, others
supported by the organ. Yet Bach has through-
out indicated the use of the organ and doubled
the voice parts, with strings and wind instru-
ments. There were also other deviations from
the score for which there seems to be no
authority. In the solos the harmonies indicated
by the continuo were filled up by the organ, but in
such a faint and uncertain manner as to be scarcely
audible, and thus much of the music sounded
all top and bottom. Moreover, the organ part
was not given in the true Bach spirit. The
performance on the whole was very good, though
at times slightly wanting in delicacy. The
choir sang splendidly. The solo vocalists were
Miss Annie Marriott, Mdme. Patey, Mr. Harper
Kearton, and Mr. Bridson, and they all deserve
praise.

selves into two series; one of them of labours suggested by the artist's last visit to the Cornish coast-of which the readers of the World have from time to time been made aware in Mr. Whistler's own engaging fashion- and the other of small oil paintings depicting the effects in certain back shops of Chelsea. We shall be interested in seeing to what extent these artistic studies continue the line begun by Mr. Whistler in his earlier French etchings, such as "The Rag Shop" and "La Marchande de Moutarde." MR. BROCK'S bust of Longfellow has this week been placed in Poet's Corner. It is said by those who had an intimate acquaintance with Longfellow to be an excellent portrait, and it is unquestionably a most spirited artistic performance. The poet is arrayed in the robes of a "D.C.L.," the detail of which is neither too THE Philharmonic Society commenced its much ignored nor too much insisted upon. The seventy-second season last Thursday week, poet has an air of vigorous health and hearty February 21. The programme did not conspirits. The bust does not represent him pre-tain a single novelty. Mr. Carrodus played In the unavoidable absence of Mr. cisely in old age. Mr. Brock has also almost Beethoven's Violin Concerto, and the performcompleted his statue of Sir William Temple. ance was a masterly one; the brilliant and Hallé, Mr. W. H. Cummings conducted. The statue itself will shortly be placed in situ, difficult Molique cadenza which he introduced An interesting concert was given on Friday while the plaster model will be sent to the Royal into the first movement gained for him enthusi- afternoon at the Blüthner Pianoforte Rooms, Academy. This is likewise capable sculptor's astic and well-deserved applause. Miss Clara Kensington. Mr. Carrodus played two movework, but we must consider the Longfellow in- Asher, the young and clever pupil of Mr. Georgements of Mendelssohn's Violin Concerto, and finitely more attractive. Mount, was heard in Mendelssohn's Capriccio songs were contributed by Mdme. Sterling and in_B_minor (op. 22). Mdme. Patey sang the Mr. Oswald; but the principal feature of the AN exhibition of drawings in black and white,"Inflammatus" from Dvorák's "Stabat Mater," afternoon was the playing of Mdlle. Marie executed for Messrs. Cassell & Co.'s fine art and Haydn's "Spirit's Song." The former Krebs on a piano with the new arrangement of publications, is to be opened at Mr. Leggett's piece, with its curious mixture of styles, is the strings known as the "overstrung scaling." Galleries, 62 Cheapside, on March 1. interesting, but loses much of its effect by being To each note is added a fourth string, tuned an given in detached form. It was well sung by octave higher, which, by its "overtone reMdme. Patey. The programme included, be- inforcement," adds greatly to the power and sides, Beethoven's "Egmont," Spohr's "Power richness of the sound. Mdlle. Krebs, in a of Sound," and Gounod's " Saltarello," com- variety of solos by Beethoven, Schumann, posed expressly for the society. Respecting Liszt, &c., showed off to advantage the qualithese well-known works nothing need be said. ties of the instrument. Mr. Cusins having resigned, the conductorship this season will be in the hands of four honorary musicians; we gave the names a few weeks ago,, Mr. George Mount wielded the bâton on the first evening. Under ordinary circumstances we should wait till the various candidates had offered themselves for trial, and then to place at the head of the orchestra of this oldname the one whom we thought the most suitable established society; but we feel able to pronounce judgment now at any rate on the first evening. On many occasions we have spoken of the late chef-d'orchestre, Mr. Cusins, and frankly expressed our opinion that he was not the man to lead the band to honour and fame. But his faults were negative; those of Mr. Mount, on the other hand, are positive. His mode of beating time is confusing, and now and then inaccurate; and, indeed, so absorbed does he become in the management of his stick and in the reading of his score that tempo, balance of tone, phrasing, marks of expression, everything, in fact, essential to the faithful rendering of a work, is frequently spoiled, if not ignored. We have nothing to say against Mr. Mount either as a man or as a musician; but his début at the Philharmonic Concerts will not increase his reputation, and can have done no good to that of the society. Brahms' new Symphony was originally announced for the second concert, March 6; but it has been changed to No. 2 in D.

M. N. DE WAILLY has had printed as a pamphlet, which is circulated with the current number of the Gazette archéologique, the discourses delivered at the funeral of François Lenormant by three of his colleagues-M. Heuzey, president of the Académie des Inscriptions: M. Delisle, director of the Bibliothèque nationale; and M. R. de Lasteyrie, one of the editors of the Gazette archéologique.

A NEW museum has been formed at Rome, in the Baths of Diocletian, to contain the mural paintings that have been found pretty frequently of late years in the course of the excavations. It will be under the charge of Sig.

Fiorelli.

SIG. GAMURRINI, the Government archaeologist for Tuscany and Umbria, reports, upon an Etruscan balance and weights recently found at Chiusi (Clusium), that they prove Clusium retained its Etruscan standard of weight to a late time. The Etruscan pound was equal to 212-2 grammes; the Roman pound was equal to 327 grammes.

M. PH. BURTY writes to us :"M. Gaston le Breton, the director of the pottery museum at Rouen, which is one of the most important in France, has drawn up a descriptive and historical account of its treasures, accompanied by numerous illustrations of specimens remarkable for their intrinsic beauty or their rarity. This work, which can be obtained in London from M. Dulau, is a valuable contribution to the history of the origin of faience in France."

|

Ir may be ranked among the curious coincidences of journalism that Miss Amelia B. Edwards in England and Prof. Maspero in Egypt, without collusion or previous correspondence upon the subject, should not only have been moved to make public their views as to the necessity of establishing a more extended system of local archaeological conservation in the valley of the Nile, but that these two independent appeals should have chanced to be published in London on the self-same day (Saturday, February 23), the one in the columns of the ACADEMY and the other in the Times. An unfortunate lapsus calami (probably a slip of the translator's pen) makes Prof. Maspero, in the above-named letter, attribute the excavation of the city of Pithom, this time last year. to the Palestine Fund, instead of to the Egypt

On Friday evening, February 22, Bach's "Christmas Oratorio was given by the Sacred Harmonic Society at St. James's Hall. The work was only intended for use in church, and the six sections of which it is composed were to be performed on different occasions, as indicated by the titles-first, second, or third days of the festival of Christmas, New Year's Day, Sunday after New Year's Day, and the festival of the Epiphany. So far as the character of the music is concerned, the performance of the whole work involves no inconsistency, but there is too much of it. Hence, on Friday, some of the movements were considerably

Mr. A. C. Mackenzie's dramatic Cantata, "Jason," produced at the Bristol Festival of 1882, was performed for the first time in London by the Borough of Hackney Choral Association last Monday evening, under the The libretto, by direction of Mr. E. Prout. Mr. W. Grist, is skilfully arranged; and the owes not a little to the vigour and flow of the composer, who has written excellent music, verses. In the first part of the work we have the building of the ship, the invocation of Jason, and the departure of the Argonauts. In the second part Jason meets the royal maiden, Medeia, and we have the love scene, the conflicts with the fire-breathing oxen, the armed men, and the sleepless dragon who guards the golden fleece; and the return of Jason and his companions to their native land. We do not purpose to review each number in detail, but to give the general impression made upon us by the work. Earnestness of purpose, dramatic power of expression, a frank acknowledgment of the influences of the present day, and respectful adherence to the form and style of the past-all thsee we find in Mr. Mackenzie's music. In listening to it we feel in presence of a man who is steadily but surely feeling his way to independence and originality. "Jason," in spite of occasional weakness, is a work of remarkable power and great promise. The most striking numbers are the choruses in the first part, the orchestral intermezzo "On the Waters," Jason's scena and air in the second part, and the concluding chorus. The solo vocalists were Miss Fusselle, who did not do full justice to her part, and Messrs. J. W. Turner and M. Tufnail, who were fairly successful. The choir sang well, and the orchestra, which had a difficult and important part to fulfil, did its best; but the limited opportunities for rehearsal caused at times a slight unsteadiness. The hall was filled and the work well received.

On Tuesday evening last, Mr. Willing gave an extra concert in aid of a fund for restoring churches near Coventry. The programme was

one of special interest. There was, first of all, HURST & BLACKETT'S TRÜBNER & CO'S

the Fifty-seventh Psalm, composed for tenor solo, chorus, and orchestra by Mr. E. H. Thorne. This short work, written for Mr.

Willing's Choir, is one of very great merit; the music is clever and interesting. The opening solo and chorus and the concluding number are delightfully fresh and well developed. Mr. Charles Chilley sang the solo part with much taste, but not sufficient power. After this selection from Handel's Oratorio

came

66

a

NEW WORKS.

GLIMPSES of GREEK LIFE and

SCENERY. By AGNES SMITH, Author of "Eastern Pilgrims," &c.
1 vol., demy 8vo, with Illustrations and Map of the Author's Route,
158.
[Next week.
CONTENTS: An Atlantic Storm-First Impressions of Athens-In Athens
-Sunium and Hymettus-Marathon and Aegina-The Isthmus and the
Acro-Corinthus-Mycenae and the Argive Plain-In Sparta-Near Taygetus
-On Ithome-Easter in a Monastery-From the Monastery to Kreki-In
Olympia-From Olympia to Megaspelion-A Journey to the Styx-Greek
Hospitality-Difficulties-A Thunderstorm on Mount Parnassus-From
Parnassus to Corfu-Language and Character of the Modern Greeks-Com.
parison of Syrian and Grecian Travel.

OCEANS; or,

SKETCHES OF AMERICAN TRAVEL, BY IZA DUFFUS HARDY. 1 vol.,
demy 8vo, 158.
[Just ready.

BELOW STAIRS; or, LONDON UNDER the LAST GEORGES, 1760-
1830. By J. FITZGERALD MOLLOY. SECOND EDITION. Price 21s.
Completing the Work.

La Resurrezione," written at Rome in 1708. BETWEEN TWO We believe it has never been given in England. In the score, which is in the musical library at Buckingham Palace, Handel has made use of VOLS. III, and IV. of COURT LIFE several instruments, now obsolete-viz., the theorbo, the lute, the viola da gamba, and, of course, the cembalo, the backbone of the orchestra of the eighteenth century. A note in the programme-book attracted special attention; it was as follows:-"Handel's instruto, and

adhered

no

WITHOUT GOD: Negative Science A COMPREHENSIVE COMMENTARY

and NATURAL ETHICS. By PERCY GREG, Author of "The Devil's
Advocate," "Across the Zodiac," &c. 1 vol., demy 8vo, 12s.

LODGE'S

PEERAGE and

BARONETAGE for 1884. Under the especial Patronage of her
Majesty. Corrected by the Nobility. Fifty-third Edition. 1 vol., royal
8vo, with the Arms beautifully engraved, 3:s. 6d., bound, gilt edges.
"This work is the most perfect and elaborate record of the living and
recently deceased members of the Peerage of the Three Kingdoms as it
stands at this day. It is a most useful publication. We are happy to bear
testimony to the fact that scrupulous accuracy is a dis.inguishing feature
of this book."-Times.

mentation will be
additions whatever made." In spite of this
promise, "additional accompaniments," and not
of the best, were used in the aria "O voi dell'
Erebo." The viola da gamba part in Ferma
l'ali" was simply omitted; this, indeed, was
not an addition, but a subtraction. Of course,
the part left out could not be given; but some
other instrument or instruments ought to have
replaced the obsolete viola part, so as to ap-
proach as nearly as possible to the composer's TO HAVE and to HOLD.
intentions. And, again, the cembalo part is
absolutely necessary to recitatives, arias, and
choruses. To perform the Oratorio without
harpsichord, or piano, or substitutive accompani- MR. NOBODY. By Mrs. John Kent origin and development, intes

ments was simply to render much of Handel's music ridiculous. To give only one instance: the aria "Caro figlio" is written in the score for voice and violoncello part-a mere sketch. The cembalo evidently filled up the harmonies or played an independent part, as indicated in the concluding symphony; but Mr. Willing only

gave the voice and violoncello part, thus making a perfect caricature of the song. The music, if not great, is very graceful and pleasing. Two of the most interesting numbers were omitted:

the first, the Angels' Song, with violins divided

into four parts, and Maddalena's aria "Per me gia," with some very interesting and feasible orchestration. The Oratorio only contains two choruses; these were both given, and well sung by the choir. The solo vocalists were Miss J.

A

on

By Mrs. POWER O'DONOGHUE, Author of "Ladies on Horseback,"
Unfairly Won," &c. 3 vols.

SPENDER, Author of "Godwyn's Ordeal," &c. 3 vols.
"Mrs. Spender has written a very readable novel."-Athenaeum.
"Mrs. Spender has surpassed herself in the pathos which marks the open-
ing pages of her latest novel. The plot is good, and well worked out."
Morning Post.
"Mr. Nobody' is full of promise and force."-Academy.

ONLY YESTERDAY. By William

MARSHALL, Author of Strange Chapman," &c. 3 vols.

ONE FALSE, BOTH FAIR.

By "This novel is pleasant reading. The scenes are very brightly and cleverly sketched."-Academy.

JOHN BERWICK HARWOOD, Author of "Lady Flavia," &c. 3 vols.

DI FAWCETT: a Year of Her
DAWN. By H. Rider Haggard.

Life. By C. L. PIRKIS, Author of "A Very Opal," &c. 3 vols.

Late Professor of Sanskrit and Comparative Philology at the University
of Munich. Third Edition, Edited and Enlarged by E. W. WEST
Ph.D. To which is also added a Biographical Memoir of the late Dr.
HAUG by Professor EVANS. Post svo, cloth, 16s.

"We have, in a concise and readable form. a history of the research into the sacred writings and religion of the Parsis from the earliest t down to the present-a dissertation on the languages of the Parsi Scrip tures, a translation of the Zend-Avesta, or the Scripture of the Parsis, al a dissertation on the Zoroastrian religion, with especial reference to its

Griffin, Mdme. Enriquez, and Messrs. Chilley HURST & BLACKETT'S CREEDS of the DAY;

Woman's Thoughts about
Women. By the Author of
John Halifax.'
Adam Graeme. By Mrs. Oliphant.
Sam Slick's Wise Saws.
Cardinal Wiseman's Popes.

A Life for a Life. By the Author
of John Halifax."

Leigh Hunt's Old Court Suburb.
Margaret and her Bridesmaids.
Sam Slick's Old Judge.

Darien. By Eliot Warburton.
Sir B. Burke's Family Romance.
The Laird of Norlaw. By Mrs.
Oliphant.

The Englishwoman in Italy. By
Mrs. Gretton.

Nothing New. By the Author of
'John Halifax.'

Freer's Life of Jeanne d'Albret.

WE have to record the death of Mr. John Pyke
Hullah, LL.D., in London, on February 21.
He was born at Worcester in 1812, and in 1832
became a student of the Royal Academy of
Music. He was first known as a composer;
nearly half a century ago his Opera "The Vil-
lage Coquettes was produced at the St.
James's Theatre. The singing classes which
he held, first at Exeter Hall and afterwards at
St. Martin's Hall, did much to spread the
knowledge of music among the people. In
1872 he was appointed Inspector of Training The Valley of a Hundred Fires.
Schools for the United Kingdom. He wrote
many essays and papers on the history and
science of music for various periodicals.
History of Modern Music and Music in the House
are two of his best-known works. Dr. Hullah
was a contributor to the ACADEMY in its early Les Misérables. By Victor Hugo.
days; and long and ably written articles in
our columns on music and musicians of the
eighteenth century, and other subjects, gave
proof of his musical knowledge and literary

Alec Forbes. By George MacDonald,
LL.D.

Agnes. By Mrs. Oliphant.

A Noble Life. By the Author of
John Halifax.'

Dixon's New America.

Robert Falconer. By George Mac-
Donald, LL.D.

By the

The Woman's Kingdom.
Author of John Halifax.'
Annals of an Eventful Life. By G.
W. Dasent, D.C.L.
David Elginbrod. By George Mao-
Donald, LL.D.

A Brave Lady. By the Author of
'John Halifax.'

Hannah. By the Author of 'John
Halifax,'

Sam Slick's Americans at Home.
The Unkind Word. By the Author
of John Halifax.'

A Rose in June. By Mrs. Oliphant.
My Little Lady. By E. Frances
Poynter.

Phoebe, Junior. By Mrs. Oliphant.
Life of Marie Antoinette.
Professor C. D. Yonge.

or, Collated Opinions of Reputable Thinkers.

By Henry Coke.

In Three Series. To which is now added an Index and Contents. 2 vols., demy 8vo, cloth, 1 1s.

"It is not a light task which Mr. Coke has set before him-to present the theological outcome of Biblical study, modern science, and speculation is concise, clear, and simple form-yet it must be owned that he has carried out his purpose with uo little intelligence and skill. An accurate view of the opinions on the most important questions of the day can be got from these pages, which are full of information."-Scotsman.

THE NEW VOLUME

COMPRISES

ability. Dr. Hullah held many appointments, IT was a LOVER and his LASS.

and was honorary member of musical societies in Rome and Florence.

By Mrs. OLIPHANT,

Author of "Chronicles of Carlingford," &c.

HURST & BLACKETT, 13, Great Marlborough-street.

By R. N. Cust.

And a Language Map by E. G. RAVENSTEIN. 2 vols., with Thirtyone Autotype Portraits, cloth, 25s.

SATURDAY, MARCH 8, 1884.
No. 618, New Series.

THE EDITOR cannot undertake to return, or
to correspond with the writers of, rejected
manuscript.

It is particularly requested that all business letters regarding the supply of the paper, &c., may be addressed to the PUBLISHER, and not to the EDITOR.

LITERATURE.

tion;"

may,

and how much more (particularly language than with aliens. Be this as it if that friend who leads us the new walk has the fact, I think, remains, and may be very a special eye for scenery, if that person who-imply tested by finding out how many takes us over the gallery, or who plays for us among our more intelligent friends possess the piece of music, is a real artist or a real Lamb's volume of selections from the Elizamusician) is our power of perception rein- bethan dramatists-a book which cannot be forced by his, and does enjoyment come to us, read from the circulating library any more than as all real enjoyment should, without effort, the Bible, and which is therefore either posunsought, to unfatigued minds! sessed or ignored. The proportion of possessors of this book is small, as is proved by the small number of editions through which it has passed.

I have enlarged on this subject because I have a strong notion that the worthy people who consider art and literature from the merely scientific point of view-who find good Shakspere's Predecessors in the English Drama. art and bad art, good poetry and bad poetry, By J. A. Symonds. (Smith, Elder, & Co.) equally handy to put under their microscope, Ir is an agreeable surprise to find that, on equally suggestive of treatises to be read by completing his great work on the civilisation similar scientific persons-would greatly like of Renaissance Italy, Mr. Symonds has turned to preach a crusade against all such as write his attention once more (for we learn from the of literature and art for the benefit of those Preface of the present volume that it was to whom they are mere pastimes, forgetting projected already twenty years ago) to the that, according to the platitude I have already literature of Elizabethan England. Mr. pronounced, the only reason why good art is Symonds is one of the most eminent of a class preferable to bad art, and good poetry to bad of critics which, whatever philistines and poetry, is that the first can afford more enjoypelants may say, may be considered as im- ment than the second, that enjoymont is, portant to our happiness only less than the therefore, the use of art, and that the men who artists about whom they write. Art and help us to enjoy it are, therefore, the men literature can never become a real study to most profitably employed about it. I have any but an infinitesimal portion of intelligent enlarged upon this point particularly, because mankind; nor is it in the least desirable that it seems to me that our Elizabethan drama they should do so. Their usefulness consists is exactly one of those forms of art which in their enjoyment-in the fact of their being have been most abundantly discussed by not an occupation, but a recreation; an inter- scientific persons for the benefit of scientific lude in our life, and not a constantly present persons, and least satisfactorily expounded by interest. But in order that the beautiful men specially endowed to enjoy for the benefit things of literature and art be thus enjoyed of the world at large, capable of similar, but without effort, it is necessary that those who less deliberately and originally obtained, enjoyare to enjoy them should have them put ment; and because Mr. Symonds' present within their reach, or rather in their way; book appears to me exactly fitted to create and for this a special class of minds becomes in the minds of intelligent readers that atmonecessary. Between the artist who creates sphere in which the full perfume of the and the ordinary man who enjoys there is Elizabethans can be appreciated, that light in Learly always necessary a mediator-an artist which their form and colour can be enjoyed. descended by a few steps from the level of I think I have said enough (though this artistic creation, or an ordinary man raised by platitude is one of those which is never suffia few degrees nearer thereunto; a someone ciently taken to heart) on the subject of good gifted with a keener sight and a more power-art and good poetry being useful in proportion fal instinct of locality; above all, a someone ble to spare more time than ourselves for becoming acquainted with all the roads, and paths, and points of view of this particular artistic country through which we are to be led There are certain philistines who imagine that every man ought to be able, at once, to enjoy thoroughly every real work of art; who cry out that, if our attention must be directed, there can be no really artistic appreciation on our part-which is much the same as expecting a man to find his way in a strange town where he has just arrived, or to guess correctly at the character of a stranger of whose antecedents he knows nothing. We require to have our attention directed to new things, either by their resemblance to things already familiar, or by being deliberately stopped by someone who knows them better than ourselves; and to say this is surely not to libel our aesthetic faculties. How much Lore do we not see when we are taken a new Walk by a friend who is familiar with it; how much better do we not enjoy a new ery in company with someone who will bad us at once to his favourite pictures; how Each more do we not enjoy a new piece of music if the performer pauses and says, Now listen to this passage to that modula

as they are enjoyed. My second proposition
divides into two propositions—namely, that
the Elizabethan dramatists do not at present
afford the full enjoyment which they ought,
and that Mr. Symonds' new book is peculiarly
fitted to bring those Elizabethan dramatists
more into what I may call current enjoyment.

That the Elizabethan dramatists, the im-
mediate predecessors, the contemporaries and
immediate successors, of Shakspere, do not
constitute part of the usual aesthetical food
of cultivated, but unliterary, men and women
is a fact which anyone, looking round among
his circle of acquaintances, may verify for
himself. For one Englishman or English-
woman who knows a line of Marlowe, of
Webster, of Ford, of Beaumont and Fletcher,
we might count five or six, perhaps nine or
ten, people who are familiar with Dante and
Leopardi, Goethe and Heine. Dante and
Leopardi, Goethe and Heine, are poets of the
first order, men who stand alone; while Mar-
lowe, Webster, Ford, Beaumont, and Fletcher
are, whatever their greatness, merely second-
class Shaksperes. This is true; but, on the
other hand, they are English, while the others
are foreign; and, as a rule, there is more
possibility of comprehension, of sympathy,
hence of enjoyment, with poets in our own

or

Now I think one may safely say that, if that volume of Lamb's were in the hands of every man or woman caring at all genuinely for poetry, the old dramatists would have contributed, in proportion to their wealth, to the general fund of poetical enjoyment of the world. No one except a student need give much more of his time and attention to the Elizabethan drama. The number of plays, even by men like Marlowe, and Webster, and Beaumont and Fletcher, which will repay perusal as wholes is very small; and perhaps it would be better to read "Hamlet" "Romeo and Juliet" a second time than to read the whole of "Dr. Faustus" or "The Duchess of Malfy" a first time. And, except with the view of learning the taste of the times, and learning also in what dreary and loathsome rubbish the finest pearls of poetry may be embedded, no ordinary human being can be counselled to read the whole of a play by Tourneur or Marston-nay, even the whole of a play by Ford. The desideratum, therefore, is that a book like Lamb's Selections be brought within everyone's ken. But, as no one feels any interest in the absolutely unknown, or looks out in the map a place whose name awakens no associations, so also a book like Lamb's falls only accidentally into the hands of those to whom it may give pleasure; and, even when it does thus accidentally come to hand, this collection of fragments from poets all nearly equally unfamiliar to the general reader, and all nearly equally great (thanks to Lamb's cunning selection) in the samples presented, leaves in the mind a certain void, a certain barrenness. interest which we feel in a passage from Tourneur or Heywood or Dekker requires, in order to take root and fructify, that we should have pointed out to us the connexion and the comparative importance of each of these men, their position as related to their superiors. This is what Mr. Symonds' new book will accomplish; and to have accomplished this is always bearing in mind my premiss that the usefulness of art depends upon its enjoyment-a piece of work incomparably higher and more useful than would be the most elaborate study made for the benefit of students. Mr. Symonds is as the artist, the connoisseur (he is both united), who leads us through a gallery; nay, rather, he is, or will be to many persons, the man who actually teaches the way to the gallery and unlocks its doors.

The

Mr. Symonds' book is, as I gather from various allusions, the first part of a work upon our drama of the late sixteenth and early seventeenth centuries; the second volume, presumably, will deal with Shakspere; the third, with Shakspere's immediate successors-Webster, Ford, Beaumont and Fletcher, Massinger, and so forth. The first one treats of the origin of the literary form

"The Cup" and "The Falcon." By Alfred
Lord Tennyson, Poet Laureate. (Mac-
millan & Co.)

SEVERAL years have elapsed since the first
performance of these dramas on the stages
of the Lyceum and of the St. James's
Theatres. They are at length given to the
reading world, and curiosity as to their
literary merit, apart from their stage success,
can be satisfied. The present writer had no
opportunity, unfortunately for himself, of see
ing "The Falcon" acted; in the case of
"The Cup," he felt, in common with most of
the spectators, great difficulty in estimating
the play with eyes undazzled by Miss Ellen
Terry's acting of the part of Camma. Mr.
Irving's Synorix was but a pale presentment
in comparison with that great actor's larger
efforts; but Miss Terry's Camma would have
redeemed a far feebler play. Now, however,
that her magical influence is withdrawn, and
admiration of the brilliant setting of the play
has become a memory, what shall be said of
the play in se? This, at least, may be said,
by way of prelude, and in justice alike to
writer and reader of this review, that it is no
light thing to estimate a work of the hand
that wrote " In Memoriam," even in a branch
of poetic art not specially his own.

which Shakspere brought to perfection, and
of the men who immediately preceded him;
it is the history of the evolution of our great
romantic stage, of the gradual fusion of
mediaeval dramatic traditions and Renaissance
poetical tendencies, of the various necessitics
which made the Shaksperian play what it
became. But, being a history, it begins with
a definition of the organism whose evolution it
traces, and it contains at every step definitions
of the factors which compose this organism.
Such being the scheme of the work, no
man could be better adapted for its execution
than Mr. Symonds; since, while equalling
Mr. Swinburne in special erudition and in
aesthetical instinct, he far surpasses the
author of A Study of Shakespeare in his
scientific mode of thought. Of Mr. Symonds'
special learning only a specialist, and one
equal to himself, has a right to speak; and to
speak of special learning in the case of a book
like this seems to me like speaking of the
chemical composition of paints and varnishes
in the presence of a great picture. The study
of the many-sided civilisation of Renaissance
Italy has given to Mr. Symonds, or, rather,
has developed to the utmost, an extraordinary
power of showing the various constituents of
an intellectual organism, and of making us
follow the process by which they unite and
The drama of "The Cup" describes the
take form. The separate chapters, for in- attempt of Synorix, ex-Tetrarch of Galatia,
stance, on the Mystery, the Miracle, the to possess himself of Camma, wife of Sinnatus
Masque, can be surpassed, in this particular his successor in that office. This he endea-
kind of half-analytical, half-synthetical in-vours to accomplish by the anonymous gift
terest, only by the general summing up of of a cup, once consecrated to the Galatian
the nature of the romantic drama as a whole. Artemis, of whom Camma is a votary; and by
On the other hand, Mr. Symonds' instinct as
a disguise and an assumed name he worms
a poet, the particular bent of his own endow- himself into the companionship of Sinnatus,
ments-as seen, for instance, in his sonnet on and partly into the confidence of Camma,
the genius of Eternal Slumber and the last upon whom he imposes by feigning a commis-
sonnet of his Animi Figura gives him a sion from Rome to arrest Sinnatus for "play-
sympathy and an intuition for the art of the ing patriotism" and desiring the emancipation
Elizabethans which is as valuable to his of Galatia from her yoke. Eventually, he
readers (to return to my old simile) as is the persuades Camma to go forth, unknown to
sympathy and intuition of a colourist for her husband, to plead with Antonius, the
Titian, or of a tint-and-light-and-shade artist Roman General, for leniency towards him.
for Velasquez, to the fortunate persons who Antonius, so Synorix assures her, will pass
accompany him through a gallery. This per- at dawn before the temple of Artemis; and,
sonal bias, when united to scientific impar- having persuaded her thus, Synorix lurks,
tiality like that displayed by Mr. Symonds, is, with a body-guard, to seize and carry her off
to my mind, one of the most valuable qualities when she appears for her interview with
in a writer of the class which, as I have said, Antonius. A lingering suspicion determines
is next in importance, as regards the world's Camma to go armed with a dagger, and to
aesthetical enjoyment, to the class of actually bid Sinnatus follow her at a short interval.
treacherous intent; and, as he attempts to drag
Confronted with Synorix, she detects his
her away, Sinnatus enters and seizes him,
but is stabbed with the dagger which Synorix
has wrested from Camma. With his dying
breath he bids Camma take refuge in the
temple; and the curtain falls upon Synorix,
baulked of his prey, standing over the body
of Sinnatus. The second act shows Camma,
now priestess of Artemis, solicited by Synorix,
now Tetrarch of Galatia for the second time, to
ignore the past, and wed with him honourably.
The fickle populace have again adhered to the
once detested Synorix; and Camma, to the
surprise of all, consents to his proposal, stipu-
lating only that the ceremony shall imme-
diately follow the crowning. When they
meet before the altar of Artemis, Camma calls
for the bridal wine, and, pledging Synorix in
the cup of act I., bids him pledge her in
return. But the wine is poisoned; and Camma
lives just long enough to see her vengeance

creative artists.

Thus, I would instance the admirable pages in which Mr. Symonds analyses Marlowe's characters, and finds as their universal constituent the amour de l'impossible. To some readers it may seem that a certain predilection for that same amour de l'impossible (manifested especially in his finest sonnets) on the part of Mr. Symonds himself may have made him particularly and excessively keen to its existence in Marlowe. We may differ from this personal judgment, each of us receiving, according to his individual nature, a somewhat different impression from a work of art; but does not this personality of judgment lend a higher value to criticism by making us feel that we are exploring an artistic region with the assistance, not of a system of fingerposts and milestones, but of a human being like ourselves—a stranger, perhaps, but, for the moment, a comrade and a friend?

VERNON LEE.

consummated by the agony and death of Synorix, and then passes away herself, discrowned and triumphant, with the vision before her eyes of Sinnatus' spirit welcoming her to the Happy Isles.

At the risk of tediousness, I have given this résumé of the play, that those who have not seen it on the stage may judge of its sufficiency as the material for a tragedy. Confessing ignorance whether it is based on any historical occurrence or is purely fictitious, I would venture an opinion that its inherent capacities have been unduly curtailed by its compression into two short acts. his wealth of imagination, the poet seems to have shrunk here from sketching character, and has given us action and little else. Sirnatus is almost a shadow, and rather clownish shadow, too; Synorix, as the would-be genial but unscrupulous sensualist, is sketched with just enough care to tantalise us with the desire of a fuller presentment. As it is, we are forced to pass him, saying, as Mr. Browning says of the poor unknown corpse in the Morgue,

"Oh! women were the prize for you!"

and there an end. Mr. Swinburne's com parison between Tennyson and A. de Musset never struck me as reasonable before perusing this play; but I must own that Synorix might have been sketched by the hand that half

drew Lorenzaccio. Even Camma herself,

though drawn with far more energy, and at the beginning of act II. with masterly skill, leaves an impression too vague for a

heroine.

It is pleasant to turn from criticism to gratitude and praise, even of one whose praise is in all men's mouths. The Poet Laureate is seldom happier than in describing tropical or half-tropical scenery. better than this?—

Has he often done

"CAMMA. O look-one grove upon the mountain—

white

In the sweet moon as with a lovelier snow!
But what a blotch of blackness underneath!
Sinnatus, you remember-yea, you must,
That there three years ago-the vast vine
bowers

Ran to the summit of the tree, and dropt
Their streamers earthward, which a breeze of
May

Took ever and anon, and opened out
The purple zone of hill and heaven; there
You told your love; and like the swaying
vines-

Yea-with our eyes-our hearts, our prophet
hopes

Let in the happy distance, and that all
But cloudless heaven which we have found
together

In our three married years!" (act I., sc. ii). One hand, at least, has not lost its cunning after nearly fifty years of toil.

Again, though in a very different strain, how strong is the following passage (act II., pp. 62-63), where the messenger of Synorix brings Camma the proffered crown of Galatia, to be worn by her as his bride, and craves for an answer :—

"CAMMA. Tell him there is one shadow among the
shadows,

One ghost of all the ghosts-as yet so new,
So strange among them, such an alien there,
So much of husband in it still-that if
The shout of Synorix and Camma sitting
Upon one throne, should reach it, it would rise
HEHE, with that red star between the

ribs