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tion of them likewise as founds, to for their mutual explanation to a
affist the memory in the pronuncia- learner.
tion of other hieroglyphics in the “ The principal difficulty in the
same language, but not in common study of Chinese writings arises from
use; and the repeated application the general exclusion of the auxi.
of them for those purposes may be liary particles of colloquial lan-
at length supposed to have' effaced guage, that fix the relation be.
their original use. Thus the pas. tween indeclinable words, such as are
sage from hieroglyphic to alphabeo all those of the Chinese language.-
tic writing may naturally be traced, The judgment must be constantly
without the necessity of having 're- exercised by the student, to supply
course to divine instruction, as the absence of such aslistance. -
"some learned men have conjectur- That judgment must be guided by
.ed, on the ground that the art of attention to the manners, customs,
writing by an alphabet is too re. laws, and opinions of the Chinese,
fined and artificial for untutored and to the events and local circum-
reason.' It is, indeed, equally na- stances of the country, to which the
tural to suppose that no such art allusions of language perpetually re-
could have preceded the establish- fer. If it, in general, be true that
ment of liieroglyphic, as that a mix. a language is difficult to be under-
ture of other nations superinduced stood in proportion to the distance
the invention of alphabetic, lan- of the country where it is spoken,
guage. The exclusive existence of and that of him who endeavours tó
the former still in China is a proof acquire it; because in that propor-
and an instance, that the number of tion the allusions to which lane
foreigners who had ever found their guage has continually recourse are
way among them, as the Tartars, less known to the learner; some idea
for example, however warlike and may be conceived of the obitacles
vi&orious, bore so very finall a pro- whích an European may expect to
portion to the vanquished, that it `meet in reading Chinese, not only
introdudced no more a change in from the remoteness of situationi

, their language, than in their usages but from the difference between and manners,

him and the native of China in alt “ The Chinese printed charac. other respects. The Chinese chater is the same as is used in most racters are, in fact, sketches or a. manuscripts, and is chiefly formed bridged figures, and a sentence is of straight lines in angular pofi often a string of metaphors. The tions, as most letters are in Ealtern different relations of life are not tongues; especially in Shanscrit, marked by arbitrary sounds, finply the characters of which, in some conveying the idea of such connecinstances, admit of additions to tion; but the qualities naturally their original form, producing á expected to arise out of such rela. modification of the sense. A run- tions become frequently the name ping hand is used by the Chinese by which they are respectively only on trivial occafions, or for pri. known. Kindred, for example, of yate notes, or for the ease and ex• every degree, is thus distinguished, pedition of the writer; and differs with a minuteness unknown in o. from the other as much as an Euro- gher languages. That of China pean manuscript does free print. has distinct characters for every moThere are buoks with alternate dification, known by them, of ob. columns of both kinds of writing, jects in the pbysical and intellectual

world,

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world. Abstract terms are no o- posed. Such character is ftudied therwise expressed by the Chinese, and best learned by becoming acthan by applying to each the name quainted with the idea attached to of the most prominent objects to it; and a dictionary of hierogly. which it might be applied, which phics is less à vocabulary of the is likewise, indeed, generally the terms of one language with the case of other languages. Among correspondent terms in another, the Latins the atstract idea of vire than an encyclopedia, containing extue, for example, was expressed ui). planations of the ideas themselves, der the name of valour, or strength represented by fuch hieroglyphics. (virtus), being the quality most In such sense only can the acquifiesteemed amongst them, as filial tion of Chinese words be justiy faid piety is considered to be in China. fo engross most of the time of men The words of an alphabetic lan- of learning amongst them. The guage being formed of different kuowledge of the sciences of the combinations of letters, or elemental Chinese, however imperfect, and parts, each with a distinct sound of their most exten Gve literature, is and name, whoever knows and certainly sufficient to occupy the combines these together, may read life of man. Enough, however, of the words without the leaft know- the language is imperceptibly ac. ledge of their meaning; not so hie quired by every native, and may, roglyphic language, in which each with diligence, be acquired by lochara&ter has, indeed, a sound an. reigners, for the ordinary concerns pexed to it, but which bears no of life; and further improvements certain relation to the unnamed muft depend on capacity and oppor. lines or strokes, of which it is com- tunity."

On the COALITION atteopted by fome BRITISH ARTISTS, berween

POETRY and PAINTING.

[From the PHILANTHROPE: after the Manner of a Periodical

Paper.]

“A a

pature has been attempted realized by the pencil; and display: by fume British artists, between ed, as it were, not only to niental. poetry and paintingPoetry and but actual vision. painting are no doubt congenial “ But the observation is no less arts. They have some principles or just in criticism than in morals, that effential qualities in common, and where we enjoy a great deal of denote similar energies in the mind pleasure, we also encounter a good of the poet and painter,

deal of danger. Pleasing as on " It is therefore exceedingly many occafions may be the effects pleasing to see the fine faucy of the of this combination between two of poet, particularly the bold and strik, the most elegant arts, it ought not ing imagery of Shakespeare, as ex. to be attempted in any instance without cautious deliberation and Sun-fhine and rain at once. Those acute discernment. In particular, happiest smiles much discernment and good taste That play'd on her ripe lip seem'd are required for ascertaining what not to know passages in a poem are proper sub- What quests were in her eyes, jects for painting. Here the ad. which parted thence, mirers of painting and the partisans As pearls froni diamonds dropt.of its alliance with poetry may be In brief, inclined to ask, are not alt fine pas. Sorrow would be a rarity most be sages in a poem fit to be delineated

lov'd, by the painter? are not the arts con. If all could so become it. genial, and are they not produced Kent. Made Me no verbal quefby fimilar energies? They are ad

tion? mitted to be congenial; but some Gent. Once or twice distinctions must be atter:ded to. She heav'd the name of father Let it be particularly attended to Pantingly forth, as if it prest her and remembered, that what is high

heart ; ly poetical is not always picturesque. Cry'd, Sisters ! fifters! What! i'th' Many fine thoughts of the poet, and storm of viglt! many objects presented by him to Let pity ne'er believe it! Then flac the mind, cannot by all the creative fhook power of lines, colours, and shades, The holy water from her heav'nly be rendered visible, Can any grief

eyes, be more natural than that of Corde. And then retir'd' to deal with grief lia when she is informed how cru. alone. elly her sisters have treated their father? But who can portray the “ In like manner, the sublime feelings that thrink from notice, as and awful vision in the book of Job, the sensitive plant from the touch; the indistinct form of the spirit, the that veil theinselves with reserve; portentous filence, and the folemn that fly even from confolation, and voice, shake and appal the soul; hide themselves in the secret mazes but set at defiance all the skill and and mysterious fanctuaries of the dexterity of the moft ingenious arheart?

tift:

“ • In thoughts from the visions of Kent. Did your letters pierce the the night, when deep sleep falleth queen to any demonstration of grief: 'on men, fear came upon me, and Gent. I say she took 'em, read 'em trembling, which made all my in iny presence;

bones to Shake. Then a spirit And now and then an ample tear passed before my face; the hair trill'd down

• of my flesh stood up; it stood still, Her delicato cheek: it seem'd the but I could not discern the form was a queen

thereof; an inage was before Over her passion, whigh, most rebel- mine eyes; there was filence, and like,

. I heard a voice.' Sought to be king over her.

" In fact, persons of real canKent. O, then it moved her. dour, who are capable of discernGent. But not to rage. Patience ing, and of giving artention to the and forrow strove

beauties of nature, will acknow. Which should express her goodlieft: ledge the existence of many fine You bave seen and striking landscapes which can

not

not be imitated or displayed by the He dies, and makes no siga :painter. Exquisite scenery, with- God, forgive him! out being picturesque, may be diftinguithed both for beauty and “ The subje&t is entitled to more grandeur. Or Mail we say, as I particular consideration. Certain have heard asserted by some fa. difpofitions of piud produce great fiionable connoisseurs, that nothing effects on the body; agitate the in external nature, no combination whole frame; impress or distort the whatever of water, trees, and ver features. Others again, more la. dure, can be accoutited a beautiful tent or more reserved, fuppress their object, unless it can be transferred external symptoms, scorn or reject, to the canvass ? Contrary to this, it or are not lo capable of external may at least be doubted, whether display; and occafion no remark. many delightful paffages, if I may able, or no immediate change in so express myself, both at the Lea- limb, colour, or feature. Such pesowes and among the lakes in Cum- culiar feelings and affections, averse berland, though gazed at with ten- to render themselves visible, are not derness, or contemplated with ad.' fit subjects for that art which affects miration, would not baffle all the the mind, by presenting to the eye power of the pencil. Though poetry the resemblant figns of its objects. ought to be like painting, yet the Despair is of this number: such usinaxim or rule, like many other ter despair as that of cardinal such rules and maxims, is not to be Beaufort. It will not complain, for received without due limitation. it expects no redress; it will not

6. It is therefore the duty of the lament, for it desires no sympathy; painter, who by his art would il. brooding upon its hopeless affliction, lustrate that of the poet, to consider it neither weeps, nor speaks, 'nor in every particular instance, whether 'gives any lign.'. But, in the pic. the description or image be really ture under review, the painter te. pietaresque. I am loth to blame preseuts the chief character in viowhere there is much to commend, lent and extreme agitatios. Noris and where the artist possesses high even that agitation, if we allow deand deserved reputation. But will it (pair to display agitation, of a kind not be admitted that the picture by fufficiently appropriated. Is it the Reynolds, which represents the death sullen anguilh, the suppruled agoof cardinal Beaufort as described by, ny, the horrid gloom, the tortured Shakespeare, is liable to the censure foul of despair ? No: it is the agiof injudicious selection in the choice tation of badily pain. The poor of a subject? Or is it possible for any abje&t sufferer gnashes his teeth, and colouring or delineation to convey writhes his body, as under the tor. the horror of the situation so imprei- ment of corporal suffering. The fively as in the words of the poet? anguish is not that of the mind.

No doubt, at a preceding moment, Sal. Disturb him not, let him before his despondency was comm. pass peaceably.

pletely ratified, the poet represents .. King. Peace to bis foul, if God's him as in great perturbation; but good pleasure be!

the affliction is from the pangs of Lord Cardinal, if thou think'st on death.

Heaven's blissa Hold up my hand, make fignal of · War. See how the pangs of death thy hope.com

do make him gria.

But

“But after his despair receives feelings could not be painted. In full confirmation from the heart- fact, the affectionate astonishment searching speech of Henry, his feel- and pious horror of Henry were fitings are leared with horror, and his ter for delinearioni, than the silent, agony will give no sign. For the fuilen, and uncommunicative demoment of the picture is not when spair of Beaufort. Beaufort is faid to be grinning with “ The rage of delineating to the mortal anguish; but the more aw- eye all that is reckoned fine in writ. ful moment, when h:ving heard the ing may be illustrated also, in the request of Henry, he sinks, of conse- performances of other able and faquence, into the deepest despon- mous artists. In Gray's Ode on the dency. Before that it would have Spring, we have the following alle.. been no other than the picture of a gorical description : man, of any man whatever, expiring with bodily pain. If indeed Lo! where the rosy-borom'd hours, the picture is to express any thing

Fair Venus' train, appear, peculiar or characteristic, it must be

Disclose the long expecting flowers,

And wake the purple year. despair formerly excited, but now ratified and confirmed by the speech 4 The hours accordingly, adorn of Henry.

ed with roses disposed as the poet

describes them, are represented on King. Lord Cardinal, if thou canvass, as a company of jolly dam

think'st on Heaven's bliss, sels, twitching or pulling another Hold up thy hand, make signal of very beautiful and buxom female, thy hope.

who is represented as sleeping on a He dies, and makes no fign:-0 bank, and clothed with a purple God, forgive him!

petticoat. Seeing such things, it is

impoffible not to think of Quarles's “ In short, the passage, highly or Hugo's Emblems. The thought, fublime and affecting, as it must who shall deliver me from this be acknowledged, is more poetical body of fin and death?' is presentthan picturesque: and the artist hased to the eye, in one of them, by wasted, on an ill-chosen subject, his the figure of a man enclosed within powers, rather of execution in this the ribs of. a monstrous and hideous instance, than of invention. Surely skeleton. In truth, the inventor of we see no masterly invention in the the prints in some editions of the preternatural being placed behind Pilgrim's Progress (where, among or beside the cardinal; for though others, Christian is represented as the poet has said, in the character of trudging along like a pedlar, with a Henry, that a busy meddling fiend burden on his back) is entitled to • was laying liege to his soul;' yet the merit of priority in the extrava. as the speaker did not actually see gance of such inventions ; for let it the fiend, there was no occasion for be remembered, that it is only aintroducing hiin, like the devil in a gainst extravagancies and misappli. puppet-fhow, by the side of his bed. cations, and not against the invenNor is there much invention in the ţion itself

, that I have ventured to ftale artifice of concealing the coun- remonftrate." tenance of the king, because his

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