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world. Abstract tèrms are no o. posed. Such character is studied 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 hieroglywhich it might be applied, which phics is less a 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 abstract idea of vir- than an encyclopedia, containing extue, for example, was expressed un- planations of the ideas themselves, der the name of valour, or itrength represented by such hieroglyphics. (virtus), being the quality moft In such sense only can the acquifiesteemed amongst them, as filial tion of Chinese words be juftly said piety is considered to be in China. to engrofs most of the time of mea The words of an alphabetic lao- of learning amongst them. The guage being formed of different knowledge of the sciences of the combinations of letters, or elemental Chinese, however imperfect, and parts, each with a distinct found of their most extensive 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 acledge of their meaning ; not fo hie- quired by every pative, and may, roglyphic language, in which each with diligence, be acquired by focharacter bas, indeed, a sound an. reigners, for the ordinary concerns nexed to it, but which bears no of life ; and further improvements certain relation to the unnamed muft depend on capacity and opporlines or strokes, of which it is com- tunity."
On the COALITION attempted by some BRITISH ARTISTS, between
Poetry and PAINTING.
[From the Philanthrope : after the Manner of a Periodical
Coalition of a very pleasing hibited in the Shakespeare gallery,
nature has been attempted realized by the pencil; and displayby fi me British artists, between ed, as it were, not only to mental, poetry and painting. Poetry and but actual vifioni. painting are no doubt congenial 66 But the observation is no less arts. They have some principles or just in criticism than in morals, that extential qualities in common, and where we enjoy a great deal of denote similar energies in the mind pleasure, we allo encounter a good of the poet and painter.
deal of danger. Pleafing as oa " It is therefore exceedingly many occafions may be the effects pleasing to see the fine fancy of the of this combination between two of pret, particularly the bold and strik- the most elegant arts, it ought not ing imagery of Shakespeare, as ex to be attempted in any inftance,
without cautious deliberation and Sun-shine and rain at once. Thore acute discernment, In particular,
happiest smiles much discernment and good taste That played on her ripe lip feemid are required for ascertaining what not to know passages in a poem are proper fub- What quests were in her eyes, jects for painting. Here the ad which parted thence, mirers of painting and the partisans As pearls from diamonds dropt.of its alliance with poetry may be
In brief, inclined to alk, are not all fine pal- Sorrow would be a rarity most besages 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 the no verbal quesby fimilar energies? They are ad
tion ? mitted to be congenial; but fome Gent. Once or twice, diftinctions must be attended 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, Sitters! Sisters! What! i' thi Many fine thoughts of the poet, and
storm of night many objects presented by him to Let pity ne'er believe it! then the the mind, cannot by all the creative
Thook power of lines, colours, and shades The holy water from her heav'nly be rendered visible. Can any grief eyes, be more riatural 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 pourtray the " In like manner, the sublime feelings that ihrink from notice, as and awful vision in the book of Job, the sensitive plant from the touch; the indiftinct form of the spirit, the that veil, themselves with reserve; portentous filence, and the solemn that fly even from consolation, and voice, thake and appal the foul ;, hide themselves in the secret mazes but set at defiance all the skill and and mysterious fanctuaries of the dexterity of the most ingenious arheart?
“ In thoughts from the visions of Kent. Did your letters pierce the the night, when deep leep 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 my prefence;
• bones to Make. Then a spirit And now and then an ample tear pailed before my face; the hair trill'd down
my fleth stood up; it stood ftill, Her delicate cheek : it seemd the but I could not discern the form was a queen
• thereof; an image was before Over her patsion, which, most rebei mine eyes; there was silence, 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 difcern. Gent. But not to rage. Patience ing, and of giving attention to the and forrow strove
beauties of nature, will acknowWhich should exprels her goodliest: ledge the existence of many fine You have seen and striking landscapes which can
not be imitated or displayed by the He dies, and makes no fign:0 painter. Exquisite scenery, with
God, forgive him! out being picturesque, may be diftinguihed both for beauty and « The subject is entitled to more grandeur.' Or fhall we say, as I particular confideration. — Certain have heard asserted by some fa difpofitions of mind produce great fhionable connoisseurs, that nothing effects on the body; agitate the in external nature, no combination whole frame ; impress or diftort the whatever of water, trees, and ver- features. Others again, more ladure, can be accounted a beautiful tent, or more reserved, fupprefs their object, unless it can be transferred external symptoms, fcorn or rejeu, to the canvass. Contrary to this, it or are not lo capable of external may at least be doubted, whether display; and occasion no remarkmany delightful pasages, if I may able, or no immediate change in fo express myself, both at the Lea limb, colour, or feature. Such pefowes and among the lakes in Cum culiar feelings and affections, averte berland, though gazed at with ten- to render themselves visible, are not derness, of 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 refemblant figns of its objects. ought to be like painting, yet the · Despair is of this number : such ut. maxim or rule, like many other ter despair as that of Cardinal tuch rules and maxims, is not to be Beaufort. It will not complain, for received without due limitation. it expects no redrets ; it will not
It is therefore the duty of the lament, for it desires no sympathy; painter, who by his art would il- brooding upon its hopelets affliction, , luftrate that of the poet, to consider it neither weeps, nor speaks, ' nor in every particular instance, whether gives any fign.' But, in the pic. the description or image be really ture under review, the painter repictáreque. I am loth to biame presents the chief character in vio where there is much to commend, lent and extreme agitation. Nor is and where the artist potletles high even that agitation, if we allow de. and deserved reputation. But will it fpair to display agitation, of a kind not be admitted that the picture by fufficiently appropriated. Is it the Reynolds, which represents the death fullen anguith, the suppreffed agoof cardinal Beaufort as described by ny, the horrid gloom, the tortured Shakespeare, is liable to the cenfure foul of despair No: It is the agiof injudicious felection in the choi tation of bodily pain. The poor of a suhicet? Or is it poflible for any abject sufferer gnashes his teeth, and colouring or delineation to convey writhes his body, as under thiç torthe horror of the fituation so imprei- ment of corporal lutfering. The frely 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 compass peaceably.
pletely ratified, the poet represents King: Peace to his fou?, if God's him as in great perturbation ; but good pleasure be!
the affliction is from the pangs of Lord Cardinal, if thou thinkest on death.
Heaven's bliss, Hold up thy hand, make lignal of War. See how the pangs of death thy hope.
do make him grin.
56 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 delineation, than the filent, agony will give no sign.' For the fullen, and uncommunicative demoment of the picture is not when spair of Beaufort. Beaufort is said to be grinning with “ The rage of delineating to the mortal anguish ; but the more aw. eye all that is reckoned fine in writful moment, when having heard the ing may be illustrated also, in the request of Henry, he finks, of confe- performances of other able and faquence, into the deepest defpon- 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, expir.
ie! where the rosy-bofom'd hours, ing with bodily pain. If indeed
Fair Venus' train, appear, the picture is to express any thing
Disclose the long expecting flowers, peculiar or characteristic, it must be
And sake the purple year. despair formerly excited, but now ratified and confirmed by the speech « The hours accordingly, adornof Henry.
ed with roses disposed as the poet
describes them, are represented on King. Lord Cardinal, if thou canvass, as a company of jolly damthinkest on Heaven's bliss,
sels, twiching or pulling another Hold up thy hand, make signal of very beautiful and buxom female, thy hope.
who is represented as fleeping on a He dies, and makes no sign :-0 bank, and clothed with a purple God, forgive him!
petticoat. Seeing such things, it is
impoflible not to think of Quarles's “ In short, the passage, highly ‘or Hugo's emblems. The thought, sublime and affecting, as it must who shall deliver me from this be acknowledged, is more poetical body of fin and death,' is present. than pi&turesque : and the artist has ed 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 keleton. 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 fiege to his soul ;' yet the merit of priority in the extravaas the speaker did not actually see gance of such inventions ; for let it the fiend, there was no occasion for be reinembered, that it is only aintroducing him, like the devil in a gainst extravagancies and misapplipuppet-show, by the side of his bed. cations, and not against the invenNor is there much invention in the tion itself, that I have ventured to stale artifice of concealing the coun- remonstrate.” tenance of the king, because his
OBSERVATIONS on the Means of confining HEAT, and directing its
(From the Fourth Number of Count Rumford's EXPERIMENTAL
ESSAYS, POLITICAL, ECONOMICAL, and PHILOSOPHICAL.] " to in
HAT heat passes more freely will grow so het as to render it imthrough others, is a fact well known; out being burnt; but the wood may but the cause of this difference in be held any length of time in the the conducting powers of bodies, fame situation without the least inwith refpeto heat, has not yet convenience; and, even after it has been discovered.
taken fire, it may be held till it is “ The utility of giving a wooden almost entirely consumed; for the handle to a tea-pot or coffee-pot of uninflamed wood will not grow hot, metal, or of covering its metallic and, till the flame actually comes in handle with beather, or with wood, contact with the fingers, they will is well known: but the difference not be burnt. If a small flip or in the conducting powers of various tube of glass be held in the fiame of bodies with regard to heat, may be the candle in the same manner, the town by a great number of very end of the glass by which it is held simple experiments ; – such as are will be found to be more heated in the power of every one to make than the wood, but incomparably at all times and in all places, and less fo than the pin or nail of metal; almost without either trouble or ex —and among all the various bodies pence.
that can be tried in this manner, no “ If an iron nail and a pin of two of them will be found to give wood, of the same form and di- a passage to heat through their fubmenfions, be held fucceflively in the stances with exactly the same degree fiame of a candle, the difference in of facility, the conducting powers of the metal “ To confine heat is nothing and of wood will manifest itself in a more than to prevent its escape out manner in which there will be no of the hot body in which it exists, room left for doubt. As soon as the and in which it is required to be reend of the nail, which is exposed tained ; and this can only be done in the flame of the candle, begins by surrounding the hot body by to be heated, the other end of it some covering composed of a sub