We often have occasion to regret, on taking up a new publication, that the writer should have failed to apprize himself of what others had written on the subject; for, in some instances, it would be seen, that what he has to offer, had been better said already; and in others, even where there is novelty to present, it would appear to more advantage, if brought forward in such lights as the suggestions of others might have shewn.

These remarks are offered with no invidious application to the volume before us, which every where exhibits the good intent of its author; but merely to state, that if, instead of it, he had favoured the public with a translation of the incomparable work of MICHAELIS on the MOSAIC INSTITUTE, he would have performed an essential service.

Those, however, who have neither access to Michaelis, with several others not noticed by Mr. Atkins, nor to those whom he hath consulted, may read his book with advantage.

Song of Songs: or, Sacred Idyls. Translated from the Original Hebrew, with Notes, Critical and Explanatory. By John Mason Good, 8vo. pp. 210. It is reported of Parson Patten of facetious and eccentric memory, that he said to another clergyman, versed in many languages. Brother, you certainly 'must have had your head broken by a brick of the tower of Babel. The same thing may be said of the author of this work, as the notes abound both with quotations and translations from almost every language ancient and modern.

As this professes to be a translation (consequently a new one) from the original Hebrew, we are surprized to find Mr. Good retain the old title, a Song of Songs, which is neither faithful to the original, nor is indeed sense. The literal construction of the first sentence or title is A Song of the Songs which ARE Solomon's, i. e, one of the songs of Solomon; the ♬ prefixed to being equivalent with the definite article. This round about mode of expression is common to all the eastern languages. In the Arabian Nights each Night is thus prefaced "the third night of one thousand and one nights."

Of this very ancient and curious specimen of amatory poetry, all attempts at accurate investigation and arrangement are vague and unsatisfactory, nor is the present critic happier than any of his predecessors, neither can we see why he chose to adopt a

Greek name for the divisious of a Hebrew poem, or why of all Greek names he chose Idyl.

We do not think that the new prose translation of the Hebrew has any advantage over that in our Bibles, and alteration without improvement is what we must always deprecate. The poetical version is another addition to the many instances we already have of the total inability of the poetry of western Europe to do justice to the figurative expressions and peculiar verbal arrangement of the poetry of the east, and especially that of the sacred scriptures.

the following passage from what is called the first As a specimen of both as well as the notes, we give Idyl, in our common version "I am black but comely, O ye daughters of Jerusalem, as the tents of "Kedar, as the curtains of Solomon." Canticles v. ch. i. ver. 5.

5 "Brown am I, but comely, Oye daughters of Jerusalem! "As the tents of Kedar, as the tapestries of Solomon.” "Not such, ve maids of Salem, my renown;

My form is comely, but my face is brown :* Comely as tapestry where the king frequents, "But brown as Kedar's tawny-tinctured tents."

With regard to the first alteration of brown for black we see no reason whatever they neither mean that the bride was a negress or mulatta, but only that she was not of a fair complexion; indeed in our own language, these words generally refer more to the hair than the complexion; and besides considering Mr. Good's partiality to Dr. Geddes, we are surprized he did not pay more respect to the Septuagint which renders it saa. Neither can we agree with this translator, or Dr. Hodgson, in substituting tapestry

is rendered in the [ועית not] יריעת : for curtains

Septuagint by eppes which would imply that the curtain (aulaa which we allow to be a proper translation of the Hebrew word) were of leather. But there seems no reason to mention the material at all, since the original does not specify whether the curtains or cloth. As for the observation in the note, that the of Solomon were composed of leather, silk tapestry, bride could not have been even brown, because she is called fair afterwards, is the translator yet to learn that fair in the language of poetry, is synonimous the hair or complexion; for which we will go no farwith beautiful, without any relation to the colour of

my face is brown:] The common version for 'brown' reads black;' which is using the original term 777 in a very hyperbolic sense indeed; its more general interpretation being brown,' 'discoloured, shadowy,' like the twilight; synonymously with the Persian

·

tarik (تاریک)

And, from many passages which follow, it is obvious that even the term brown could only be applied to herself by the beautiful bride from an excess of diffidence and modesty; for in the ensuing idyls she is repeatedly denominated fair, and even fairest of the fair; and the whiteness of her complexion is compared to the moon, to ivory, and to lilies. The whole can only mean, therefore, that in of her life, before her brothers had ungenerously made her a kind her own opinion, she was not quite so fair as in an earlier period

of attendant upon themselves.

Tasso has given precisely the same description of his mistress Leonora, in a well-known sonnet addressed to herself:

Bruna sei tu, ma bella
Qual virgine viola.

Though brown thy visage, comely yet
As the virgin violet.

ther for an example than Mr. Good's own paraphrase, || for though he translates the 15th verse of the first chapter "Behold how beautiful art thou my love! Behold how beautiful!" he paraphrases it,

How fair thy form, my love! how wond'rous fair! In the Septuagint, both ms in verse 5, which in our translation is comely, and n' in verse 15, which is fair, are translated. For the merit of the verse we appeal to the third line of our quotation, or take this couplet among many others like it:

"As mid the thorn, the lily, mid the fair, "So looks my love, so shines beyond compare." To enquire who the bride was, and on what occasion this poem was written, seems to us as useless as its solution is impossible; but we hope we do not go too far in expressing our wishes that it were not inserted in the common editions of our bible; for whatever may be the mystical sense, the allegory is so strongly expressed that, to use the words of an elegant critic on another occasion. "Plenæ rerum delucidæ descriptiones quarum vel ipsa mentio libi"dinosa est, si virtutem non moveant solidam stabi"lemque, fragilem certe nihil roborant neque imbe"cillam."

Commentaries on Classical Learning. By the Rev. D. H. Urquhart. pp. 539.

In writing on a subject like this, which has been so often investigated before, and which has employed the pens of the learned from the revival of letters in Europe to the present hour, the author has two difficulties to encounter. If he follow the guidance of sound judgment and real genius, as he will find it impossible to say much that shall be at once just and new, on what has already been so amply discussed by those eminently possessed of both, he will perhaps be censured as a mere retailer of common place opinions; while, on the other hand, should he be determined to gain the public attention by novelty, he will be apt to run into some of those monstrous paradoxes which we have seen lately brought forward by the pens even of persons of eminent genius, and try to prove that Virgil was no poet, that Homer was a native of Ithaca, and descended from one of the soldiers of Ulysses; that the victory of Salamis was gained over only a petty Satrop of the great king; and that Alexander the Great was a son of Darius.

Of this species of ancient scandalum magnatum Mr. Urquhart is by no means guilty; and if he incurs a little the other censure of very seldom deviating from the beaten track, besides the excuse we have already given for it, this work (as is evident from all the quotations being from translations of the classics) is intended only to give some idea of classical literature to those who are unacquainted with the originals, and to such readers it is surely more useful to know what has been already said in general on the subject by sober and ingenious critics, than what may have been the partial opinions of some fanciful and eccentric writers. Besides this, Mr. Urquhart disclaims in his preface the merit of originality, as he tells us," that the arrangement of the Greek and Latin writers was formed on the model of Monsieur

La Harpe's ingenious work, and that his sentimentsfrequently appear in the Commentary."

Early in the work, page 13, 14, the author mentions Plato's censure of the medical skill of Hippocrates, because by protracting the lives of infirm persons, he preserved those who were useless to the commonwealth. And after this he adds, "Surely then we are no longer justified in blaming the Hottentots who exsurprised he did not allude to the custom of exposing pose their decrepid parents in the woods." We are their infants, adopted by the polished fellow-citizens of Plato. In one of the Comedies of Terence an Athenian woman is upbraided by her husband for rearing a child he had ordered her to expose, to which she makes no defence, but owns herself in the wrong, and begs his pardon for her weakness.

Speaking of Sappho, we are surprised Mr. U. should mention her Ode to Lesbia. This name occurs, it is true, in Catullus's translation of the Ode, which was the name of his mistress, but it is not in the original, and if it had, it would not have been a proper name,. as most likely the friend of Sappho was, like herself, a Lesbian.

We find Mr. U. has implicitly adopted the idea of one of the later Greek historians, that the son of Xenophon, who was slain at the battle of Mantinea, gave a mortal wound to Epaminondas. An event so honourable to his family would hardly have been omitted by the father, who himself describes that battle in his history, or have escaped the notice of that collector of anecdotes, Plutarch, in his life of Epaminondas, had there been any foundation for it.

In speaking of the Thraso of the Roman comedy, he calls it "a bragadocio soldier, whose extravagant boastings and ribaldry have served as a model for the Copper Captain of our old comedy." Now it happens. that the only Copper Captain we have, is in the Rule a Wife, and have a Wife, of Beaumont and Fletcher, who is no braggart, but appears to be a very brave soldier though not very wise.

From the comparison of Homer and Virgil we give the following extract :

Virgil is not more conspicuous for strength of description than propriety of sentiment, and when he takes a hint from the Grecian bard, he does not fail to improve upon it. "One instance may suffice.

"In the sixth book of the Iliad, while the Greeks are making great slaughter amongst the Trojans, Hector, by the advice of Helena, retires into the city to desire that his mother would offer up prayers to the goddess Pallas, and promise her a noble sacrifice if she would drive Diomed from the walls of Troy. Immediately before his return to the field of battle, Hector has his last interview with Andromache, whom he meets with his infant son, Astyanax. Here occurs one of the most beautiful scenes in the Iliad, where the hero takes the boy in his arins, and pours forth a prayer that he may one day be superior in faine to his father. In the same manner Æneas, having armed himself for the decisive combat with Turnus, addresses his son Ascanius in a beautiful speech, which, while it is expressive of the strongest paternal affection, contains a noble and emphatic admonition suitable to a youth who had nearly attained the period of manhood."

Many of Mr. U's. readers, among whom we include ourselves, will not agree with him either in his

general proposition or the example he brings of it. Particular passages, and especially similies, he does indeed generally improve, for as Virgil had a most correct taste as well as language, he would certainly omit what was trifling and superfluous, and add what would give more beauty and energy to the expression, but we never can allow that he does not fail to improve every hint he takes from the Grecian bard. short address of Æneas to his son has certainly all the merit it could have, it is manly and heroic, which was all the poet intended, but can never be put in competi

The

tion with the sublime, and at the same time tender pathos of that which Mr. U. very justly terms one of the most beautiful scenes in the Iliad.

Pointing out these defects, we nevertheless think the work calculated to answer the purpose for which it is intended, viz. the enabling those who have not had a classical education to take part in a conversation on the subject when it is introduced.

The author apologizes for the numerous errata, but in perusing the work, we have noticed some which he has omitted, and which appear to us rather errors of the MS. than the compositor. In page 251, we find the elder for the younger Cyrus, and in 358, Juvenal for Persius.

Memorabilia Cantabrigiæ, or an Account of the different Colleges in Cambridge; Biographical Sketches of the Founders and eminent Men, with many Original Anecdotes; Views of the Colleges, and Portraits of the Founders. By Joseph Wilson, Esq. of the Inner Temple. 341 pages.

Mr. Wilson on the present occasion only professes to have published, a more complete and entertaining

Guide to the Members and Visitants of the University, than any which has yet appeared. In this respect he has certainly fully succeeded; and the beautiful little volume before us, will be eagerly sought after both by the stranger who visits the university, and the student who resides in it. We wish, however, notwithstanding the difficulties that present themselves, some of which are stated in the Preface, that Mr. Wilson had taken a wider scope, and probably the success which this volume will meet with, may induce him to enlarge it in a subsequent edition. In the biographical accounts he has done little more than insert from the Guides already published, and we strongly suspect that some of the plates have only been copied from them. The view of Trinity College is a very bad one, and we think the Ionians will scold, when they find only their bridge, and the back view of their college on the Cam, presented to public. notice: It looks like St. John's in a band-box! Mr. Wilson should have given a view of some of the College walks, which are beautiful, and also of the University as seen on the approach from London. We regret that in his account of eminent men, he did not at least add the names of some of the most distinguished within the last century. In speaking of Prior, who was educated at St. John's, Mr. Wilson passes an incorrect criticism on that poet's celebrated Alura whereas, this poem for brilliancy of wit, and power of imagination, is one of the finest that ever was composed. Mr. Wilson might also have inform

Minstrelsy of the Scottish Border-consisting of His

torical and Romantic Ballads-collected in the Southern Counties of Scotland; with a few of modern date, founded upon local Tradition. By Mr. Scott. col. 3. 8vo.

Mr. Scott has already favoured the public with two volumes of the Minstrelsy of the Scottish Border. Those are now republished, together with a third, which consists of three parts, containing historical ballads, romantic ballads, and imitations of the ancient ballad. Historical or chivalrous ballads may perhaps be called heroic or epic poems on a smaller scale: like them they are supposed to be founded upon facts, and like them they are embellished by the creative fancy of the poet, maker, or minstrel. Of these the present collection contains fourteen, the first three, or perhaps four of which are apparently founded upon events of the thirteenth century; and two of them were probably composed above five hundred years ago.

Aula Maitland, which, though later in point of time than the two ballads now alluded to, Mr. Scott has placed first, contains a defence of the castle of Leader (or Lauder) against an army led by Young Edward, a nephew of King Edward, to whose summons of surrender Auld Maitland answered,

'Of Scotland's king I haud my house;
He pays me meat and fee;
And I will keep my gude auld house,
While house will keep me;'

my

And he accordingly did keep it.

It contains also a very daring adventure achieved in the most romantic spirit of chivalry, by Maitland's three sons against Young Edward, and other chiefs of the English forces in France. Auld Maitland, the hero of the piece, is unquestionably Sir Richard Maitland, the ancestor of the earls of Lauderdale, who flourished about the year 1250, and must have been indeed an old man in 1996, when the war between England and Scotland began.

It was when the real exploits of Auld Maitland and his sons were magnified by traditional report, and thrown by the lapse of time into that degree of obscurity, so favourable to poetical invention, which has been esteemed one of the peculiar felicities of Homer, that this interesting ballad was composed. And, if we may venture to differ from the learned editor, it was not sooner than the year 1377, when the borderers began to renew the war between the two kingdoms, or perhaps, rather after the Duke of Lancaster's invasion of Scotland in 1385, when the composition St. John's was founded on the 9th of April 1511, under the Will of Margaret Tudor, Countess of Richmond.

To Noroway, to Noroway, To Noroway o'er the faem; The king's daughter of Noroway,

'Tis thou maun bring her hame.'

Be it wind, be it weet, be it hail, be it sleet, Our ship must sail the faem; The king's daughter of Noroway,

'Tis we must fetch her hame."

The words printed in Italics were never written or spoken by any person living either in England or Scotland in the thirteenth century, or long after it. They ought to be the kingis douchtir, ship mon sail, we mon fetch, or rather bring. Surely in writing down ancient poems from recitation, a restoration of the genuine language is allowable, if done by a person who is

master of it.

It is to be apprehended, that in the course of oral tradition, or the baneful improvements of rehearsers, or transcribers, the genuineness of the costume has been violated, as well as that of the language; at least the cork-heel'd shoon,' and the huts, in the same ballad (p. 68.) seem liable to suspicion.

Other inconsistencies might be noted, as Sir Agilthorn and Oswy (pp. 340, 346), certainly not names of the sixteenth century; which is the more to be regretted, as Sir Agilthorn is a beautiful poem, though, as it belongs to the English border, it is out of place. Verum, ubi plura nitent, as is really the case in this collection, we may be permitted to perform the most pleasing part of our duty, and to say, that Mr. Scott has made a valuable addition to the stock of ancient poetry; that the three first ballads only are fully sufficient to secure to this volume a welcome reception with every reader, who is qualified to enjoy their beauties, and desires to see the oldest productions of

our native muses rescued from oblivion. We do not

hesitate to say, that his three volumes contain a great deal more of what may be properly called Border history, than can be found in a superficial history of England and Scotland, which was published under that title; and that Mr. Scott has executed the task he has taken upon himself in a very respectable

A Few cursory Remarks upon the State of Parties, during the Administration of the Right Honourable Henry Addington. By a near Observer. 88 pp. 8vo. London, 1803.

This pamphlet is intended for a vindication of the conduct of the present ministers. And it certainly takes the most effectual means of vindicating them, which they have omitted themselves, attacking the conduct of their predecessors and opponents. It sets out with a detail of the circumstances, full of difficulty, of danger, and alarm, in which the late ministers thought proper, or were compelled, to withdraw from

the councils of their sovereign: a mysterious step, which has never yet been accounted for, and which does not seem capable of being accounted for in a way very favourable to their reputation. The conduct of the old opposition is noticed, the support of Mr Pitt, and the ambiguous behaviour of his friends, who though they did not oppose, sneered at the ministers, and whispered their incapacity, though they did not yet proclaim it.

The pamphlet professes to be written by a near obe server; by which term is to be understood a person having access to know the secret connections, trans actions, and views of the persons who are, and who evidence that it is what it pretends to be; and several wish to be in power. It contains sufficient internal curious particulars are brought to light by it. One of them is, that the late ministry came under an actual and solemn engagement to support the present ministry, before they would accept of their offices. This is so important a circumstance for the honour of that party, that we chuse to give it in the words of our

author.

"Whatever may be the difficulty and the delicacy (for they are extreme) of the point I am treating, I think it indispensible to speak with courage and with perspicuity; and 1 challenge the illustrious persons I have named (Mr. Pitt and Lord Grenville) to controvert the fact, or the spirit of a statement, which it is important to the present and to future ages to place beyond controversy and dispute. I must take upon offer of his confidence to Mr. Addington, could not me therefore to aver, that his majesty's most gracious have been, and WAS NOT definitively accepted, until a solemn authentic pledge of honour had been given by the late-ministers, for their CONSTANT, ACTIVE, and ZEALOUS SUPPORT. I do assert that MR. PITT and LORD GRENVILLE did sacredly and solemnly enter into this exact engagement, and in this precise form of words. Lord Grenville has been reminded of this promise more than once by the Lords Pelham and Hobart-but his lordship

Leviter curare videtur

Quo promissa cadunt & somnia Pythagoræa." The pamphlet asserts that the new ministers were circumscribed in the terms they could propose as the basis of the negociation at Amiens, by the terms of the Projet offered by Mr. Pitt and his colleagues at Lille; and that the inconsistency is glaring of those other: that Mr. Windham accordingly, before he began who had a share in the one transaction, condemning the his condemnation, thought it right to declare that he had never approved of that projet, though, as a inember of the cabinet, he lent his responsibility to the transaction; and though there could be no reason for his not then as well as now speaking out against a measure, according to his principles, so fatal to his country, except that in the one case he was in office, and in the other not.

It states the arbitrary and despotical principles, the insolent, illiberal, and overbearing conduct of the Grenville interest, including Mr. Pitt, in that denomination. It states besides, what is more intolerable, a compact in that family, by the power of great wealth and extensive connections, to nominate themselves only