fowl, and fermentry, frontignac, flip, and fare fit for the fastidious; fruit, fuss, flambeaux, four fat fiddlers and fifers; and the frightful form of the fortunate and frumpish fiend fell from him, and he fell at Fenella's feet a fair-favored, fine, frank, freeman of the forest. Behold the fruits of filial affection." ACROSTICS. THE acrostic, though an old and favorite form of verse, in our own language has been almost wholly an exercise of ingenuity, and has been considered fit only for trivial subjects, to be classed among nugæ literariæ. The word in its derivation includes various artificial arrangements of lines, and many fantastic conceits have been indulged in. Generally the acrostic has been formed of the first letters of each line; sometimes of the last; sometimes of both; sometimes it is to be read downward, sometimes upward. An ingenious variety called the Telestich, is that in which the letters beginning the lines spell a word, while the letters ending the lines, when taken together, form a word of an opposite meaning, as in this instance : Unite and untie are the same-so say yo U. Although the fanciful and trifling tricks of poetasters have been carried to excess, and acrostics have come in for their share of satire, the origin of such artificial poetry was of a higher dignity. When written documents were yet rare, every artifice was employed to enforce on the attention or fix on the memory the verses sung by bards or teachers. Alphabetic associations formed obvious and convenient aids for this purpose. In the Hebrew Psalms of David, and in other parts of Scripture, striking specimens occur. The peculiarity is not retained in the translations, but is indicated in the common version of the 119th Psalm by the initial letters prefixed to its divisions. The Greek Anthology also presents examples of acrostics, and they were often used in the old Latin language. Cicero, in his treatise "De Divinatione," has this remarkable passage:-"The verses of the Sybils (said he) are distinguished by that arrangement which the Greeks call Acrostic; where, from the first letters of each verse in order, words are formed which express some particular meaning; as is the case with some of Ennius's verses, the initial letters of which make 'which Ennius wrote!' Among the modern examples of acrostic writing, the most remarkable may be found in the works of Boccacio. It is a poem of fifty cantos, of which Guinguenè has preserved a specimen in his Literary History of Italy. A successful attempt has recently been made to use this form of verse for conveying useful information and expressing agreeable reflections, in a volume containing a series of acrostics on eminent names, commencing with Homer, and descending chronologically to our own time. The alphabetic necessity of the choice of words and epithets has not hindered the writer from giving distinct and generally correct character to the biographical subjects, as may be seen in the following selections, which are as remarkable for the truth and discrimination of the descriptions as for the ingenuity of the diction: GEORGE HERBERT. Good Country Parson, cheerful, quaint, E ver in thy life a saint, O'er thy memory sweetly rise Holy Herbert, humble, mild, Thy "Temple" now is Heaven's bright rest. DRYDEN. Deep rolls on deep in thy majestic line. REYNOLDS. Rare Painter! whose unequall'd skill could trace Looking stern horror on each starving child; S uch as with Burke, or e'en with Johnson shine. BURKE. Brilliant thy genius 'mongst a brilliant throng; U nique thy eloquence of pen and tongue; HUBER. How keen thy vision, e'en though reft of sight! E ach cell, with geometric wisdom planned, R ich stores of honied knowledge thus at thy command. CRABBE. Copyist of Nature-simply, sternly true,- WALTER SCOTT. Such the creations that we see- T by genius foremost stands in all her long array. LAMB. Like the bright impress of thy genial mind, SOUTHEY. Serenely bright thy life's pure stream did glide, Years cannot from our fondest memory lave. WORDSWORTH. Wandering, through many a year, 'mongst Cumbria's hills, WILSON. When shall we look upon thy like again? S mit with the love of Nature's wild attire, O'er mountain, moor, and loch now loves to rove, Now, in day-dreams, which "night's ambrosial" prove. ROGERS. Rivaling the Bard of Hope, Or e'en in smoothness polished Pope; Graceful is thy "Memory," Enchanting thy fair "Italy," R are thy skill in fancy's strife, Sweet thy pictured "Human Life." IRVING. In easy, natural, graceful charm of style, V ein of rich humor through thy "Sketch-Book" flows, No equal hast thou 'mongst thy brother band, MACREADY. Master Tragedian! worthy all our praise. A ction and utterance such as bygone days KNIGHT. Knowledge diffusing of most useful kind, Gives thee a place scarcely surpassed by any; H anding thee down 'mongst knights of prouder name. MACAULAY. Masterly critic! in whose brilliant style A nd rich historic coloring-breathes again- Under this vivid, eloquent painting, see Life given anew to our old history's page; A nd in thy stirring ballad poetry, Youth's dreams of ancient Rome once more our minds engage. LONGFELLOW. Lays like thine have many a charm; O ft thy themes the heart must warm. Now o'er Slavery's guilt and woes, |