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* The destiny oty, and on larger truer and more

to allowing them the right of sepulture. The crime of adultery is punished in a similar manner to that of murder ; but for common offences the only punishments are public disgraces.

The scheme of our author is founded on truer and more disinterested principles of liberty, and on larger and more benevolent views of the destiny of man, than the Utopia of Sir Thomas More. The Mezoranians have no such thing as slavery in their commonwealth ; virtue is their only distinction, and honour their only reward. They neither shed the blood of brethren at home, nor of enemies abroad. It is also less impracticable thạn the Utopia, not being incumbered with such trifling and foolish regulations as that celebrated work. How far indeed any such system is practicable, is another question; but whether practicable or not, it may still be delightful as an ingenious speculation, or valuable as a means of conveying useful knowledge. Indeed, the work which we are now reviewing is as valuable for the hints thrown out for the improvement of man in his social character, and for the simplifying and softening down the too harsh laws supposed necessary to keep him in peace and subjection, as it is beautiful as an Utopian scheme. And yet it is in some measure modelled after a government which actually existed, refined and improved it is true, but still bearing strong resemblance to its prototype. Ancient Egypt, the inhabitants of which appear to have arrived at great perfection in their civil polity, as well as in arts and sciences, was the model the author seems to have taken for the kingdom of Mezorania. From that country he has derived the polished race, with which he has peopled his delightful settlement. But he has assigned to them a country superior, in natural beauty and fertility, even to Egypt itself, once “ the finest country in the world, the most fertile by nature, and the best cultivated by art.” The towns of the Mezoranians are as magnificent, and their temples as superb, as those of the Egyptians, and, like them, they seem as if they intended to “ wrestle a fall with time" in the perpetuity of their edifices. He represents the Mezoranians to have the same serious disposition, and to be distinguished by the same inventive mind to have the same equal respect for all employments which contributed to the public service, and to be imbued with the same ardent love of country. Their legal institutions were as simple as those of the Egyptians, and their observance of them as scrupulous and exact. They had a similar preference for such arts as were most useful, and a similar dislike of any one being idle or useless to the commonwealth. And from the Egyptians he has borrowed the peculiar custom of punishing criminals after death. His plan for the regulation of marriages and the intercourse of the sexes is as charming and disinterested as it is uncommon,

them, the the perpeve the

and, in some of its parts, fanciful. As, for instance, his mode of courtship, which is this :

“ If the man be the person the woman likes, he presents her with a flower just in the bud, which she takes and puts in her breast. If she is engaged before, she shews him one, to signify her engagement; which if in the bud only, shews the courtship is gone no further than the first proposal and liking; if half blown, or the like, 'tis an emblem of further progress ; if full blown, it signifies that her choice is determined, from whence they can never recede; that is, she can change the man that presents it, but he cannot challenge her till she has worn it publickly.”

As a romance, it is also worthy of admiration, the incidents being well contrived and most agreeably related. In short, it contains such just principles of benevolence, is adorned with so rich and playful a fancy, and is composed in such a clear, simple, and unconstrained style, that it has not only our approbation but our perfect love.

We must now return to the personal history of Gaudentio di Lucca himself, the remainder of which we shall state in very few words. The Pophar, now elevated to the dignity of Regent, took Gaudentio into his own family, as his constant companion, treating him with the most distinguishing marks of his favour. Our-adventurer, after a due probation, marries the divine Isyphena, the Pophar Regent's daughter, with whom he lives, very happily, and has several children by her. But his wife and all his children paying the debt of nature, he sets out on his return to his native land, accompanied by the Pophar Regent, who has resolved to enquire into the truths of Christianity at the fountain-head. They arrive in due course at Alexandria, where they embark on board a ship bound for Venice. Shortly after they have embarked, the good Pophar falls ill and dies. The ship touched at Candy, where, as Gaudentio is walking on the seashore, reflecting on the loss he has sustained by the death of the Pophar, he has the happiness of shewing his gratitude to -the fair Persian, to whom he owed his own life, by saving her's from the fury of the pirate whom she had married. They fly, are pursued, and made prisoners. Being conveyed to Constantinople, our hero's interest with the Grand Sultaness, whom he discovers to be no other than the Bassa's daughter mentioned in the early part of his memoirs, procures the release of the ship and crew. After staying a month at Constantinople, receiving the greatest possible marks of distinction from the Grand Sultaness, he departs for Venice with the Persian lady, and finally settles at Bologna, as before related.

Such of our readers as have not read these memoirs, should know, that the Persian lady, being seized by the officers of the

Holy Inquisition at the same time with her companion, turns out, on her examination, to be the twin-sister of Gaudentio's mother. They will also, we are quite sure, have great satisfaction in learning that our hero, being found a good catholic, obtains his liberty, after a residence of nearly three years in the cells of the Inquisition. • This work has been generally attributed to Bishop Berkeley; but Mr. Chalmers, in the sketch of his life in the General Biography, asserts that it was certainly not written by him, without however producing any authority for such an assertion. We are not aware of the existence of any extrinsic evidence of Berkeley's being the author of Gaudentio di Lucca, except general report.* In the absence, therefore, of all other positive testimony on the subject, we are disposed, from internal evidence, to think that it has been properly assigned to that virtuous character. There are not many minds capable of conceiving a scheme of action so beautiful and so pure, so simple and so benevolent, as that developed in the book before us. The mind of Berkeley was one of these, there is nothing beautiful or grand or useful which his mind was not only capable of comprehending, but of carrying into effect, from the meanest mechanical art to the most sublime sciences. He united in his character qualities which are seldom found in the same person. A finished gentleman, he possessed manners the most sweet and fascinating, and knowledge the most extensive and profound, talents the most acute and ingenious, and an imagination the most chaste and beautiful. Those whom his eloquence and enthusiasm delighted, his disinterestedness and kindness unalterably attached to him. His mind was the seat of the noblest thoughts, and his heart of the purest benevolence for his species. The self-love and self-interest, which would have preferred personal security and a rich benefice to hazardous exertions, accompanied with comparative poverty, for the good of the human race, were alike strangers to his breast. Such innocence and such exalted goodness are rather of the nature of angels than of men. If to be a visionary, is to be such a character, would that all men were visionaries.

The internal evidence on, which we rely, as corroborating our opinion that this book was written by Bishop Berkeley, is the agreement between the feelings and opinions developed in it, and in his acknowledged works. Such as his preference of , simplicity of manners, and his detestation of luxury. His respect of men according to their personal merit, and his con

* Gentleman's Magazine for January, 1777. Biographia Britannica. Art. Berkeley.

tempt of mercenary feelings. His wishes for the encouragement of architecture and for the erection of national buildings. The ardent love of country and its institutions, which he inculcates as a general obligation in many of his writings, and which is, in a peculiar manner, characteristic of the Mezoranians. His proposal to stimulate the public spirit of this nation, by means similar to those employed in the Utopian commonwealth, namely, by making the love of fame and reputation subservient to promoting this principle. Thus he would inspire magnanimity and virtue, by commemorating services done to the public by statues, columns, inscriptions, and other monuments," which is the custom of the Mezoranians. To these may be added, the general benevolence of his views, and, in particular, his noble project for civilizing America, which is almost as far removed from common notions as his imaginary kingdom. Nor should we omit to remark, that Gaudentio di Lucca is distinguished by the same purity of imagination, and chasteness and simplicity of style, as the other works of this most excellent man. So that, upon the whole, we think, there is every reason to suppose it has been properly attributed to him.

Art. IX. Bussy D'Ambois. A Tragedie, as it hath been often

presented at Paules. London, 1607. The Conspiracie and Tragedie of Charles, Duke of Byron,

Marshall of France. Acted lately in two playes, at the Black

Friers. Written by George Chapman. London, 1608. Casar and Pompey. A Roman Tragedy, declaring their Warres.

Out of whose events is evicted this proposition; only a just man

is a free man. By George Chapman. London, 1631. Revenge for Honour. A Tragedie, by George Chapman.

London, 1654. The Tragedy of Alphonsus, Emperor of Germany. By George

Chapman, Ğent. London, 1654.

After Shakspeare, George Chapman may be considered the first, in point of time, of the great fathers of the English drama, who flourished in the latter years of Queen Elizabeth and

---:' * See particularly his Essay towards preventing the Ruin of Great Britain.

the reigns of the first James and his successor Charles. For this and other accidental causes, we commence, with him, a review which we intend to take of the works of these extraordinary men. Chapman, indeed, is not one whom we would have voluntarily presented first to the notice of the reader, unacquainted with the dramatic writings of these contemporaries of Shakspeare, for he is far from being the best of them, and to a superficial reader, on the whole, repulsive and often even incomprehensible. Inasmuch as we should esteem it a proud distinction, could we contribute to make these writers more generally known, we cannot but lament that the forbidding aspect of Chapman must first meet the eye of the uninitiated, which perhaps may, like the surly countenance of an ill-looking host standing at his gate, induce the literary traveller to pass on, in hopes of a warmer welcome and a less churlish entertainer on a different road, or at a farther stage of his journey. George Chapman, however, is made of stern stuff, wears well, and is better for knowing; and, such as he is, we venture to introduce him, in a new character, to our readers. For, as a translator, we have already endeavoured to convey an impression, though, we fear, but a faint one, of his eminent merits.

Of the biography of our author, few particulars remain. We learn, that he was born in the year 1557, and that he died at the age of seventy-seven, in 1634. He is called by Browne, in his pastorals, “ the fair shepherd of Hitching-hill," which place, in Hertfordshire, is hence concluded by some to have been his birth-place. He was warmly patronized by Sir Francis Walsingham, Henry Prince of Wales, and Carr, Earl of Somerset; and claims the much higher honour of having been the friend of Spenser, Shakspeare, Jonson, and other distinguished contemporaries. He was educated at one or both of the universities certainly : he spent some time at Oxford, and, it is supposed, completed his studies at Cambridge. During the course of his long life, he appears to have been, according to Wood, temperate and religious in his habits, and venerable in his aspect, and universally esteemed by his friends for the dignity and respectability of his character. His works are numerous, and display the scholar as clearly as the man of genius. Besides his translations of Homer, and parts of Hesiod, and the Erotopagnion of Musæus, and some original poems, he gave to the stage no less than twenty dramas; sixteen of which have come down to us. They consist both of tragedy and comedy, and bear the following titles : The blind Beggar of Alerandria, a comedy, first printed in 1598. Humorous day's mirth, a comedy, 1599. All Fools, a comedy, 1605. Eastward Hoe, a comedy, 1605; in which he was assisted by Jonson and

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