"For they have watched, since first The world had birth, And found sin in itself accurst, And nothing permanent on earth." nished, as a whole, from the perusal of women; and of what avail to him are his rich gifts of song, when he is confined to the musty shelves of schoolmen, as a punishment for his ill-deservings? Herrick partly read his own destiny, when he recorded that beautiful reproof of his Julia, "Herrick, you are too coarse to love." The most magnificent genius will not avail, if a poet has once been put under a just sentence of exclusion from female How exquisitely plaintive is the fol- society; some of our greatest writers have lowing: MEMORIES AND ASPIRATIONS, BY HENRY VAUGHAN. "They are all gone into a world of light, And I alone sit lingering here; Their very memory is bright, And my sad thoughts doth clear. "It glows and glitters in my cloudy breast, Like stars upon some gloomy grove, Or those faint beams in which the hill is drest, After the sun's remove. "I see them walking in an air of glory, Whose light doth trample on my days, My days which at the best are dull and hoary, Mere glimmerings and decays. "O holy hope and high humility, High as the heavens above! These are your walks, and you have shown them me, To kindle my cold love. "Dear bounteous Death! the jewel of tho just, Shining no where but in the dark, What mysteries do lie beyond the dust, Could man outlook that mark. "He that hath found some fledg'd bird's nest, may know At first sight if the bird be flown, received this condemnation to obscurity, and Moore and Byron have felt its influ ence. To rescue the blameless stanzas of Herrick from the partial oblivion in which they are reposing, is likely to improve the taste of the present day: certainly they shed intense brilliancy on any collection in which they appear. What a wild fresh beauty we find in the following stanzas: "Her eyes the glow-worm lend thee, Since ghost there is none to affright thee. And when I shall meet But what fair field or grove he sings in My soul I'll pour unto thee." now, That is to him unknown. "And yet as angels in some brighter dreams Call to the soul when man doth sleep, So some strange thoughts transcend our wonted themes, And into glory peep. "O Father of eternal life, and all Created glories under thee, We find in this collection his "Anthea;" the exquisite "Meadows;" the "Daisy" "Blossoms;" the "Daffodil;" and several more gems, which no other collector has appropriated and re-set. Ladies are, by means of this collection, enabled to become acquainted with the merits of Shakspeare's beautiful minor poems: his sonnets are the perfection of Resume the spirit from this world of thrall, that line of poetry, as the sentiments of Into true liberty." Then we have selections from the wild and ideal lyrics of Herrick, a poet who permitted his sinful nature so far as to mingle itself with his lays, as to be ba these noble lines will prove : "Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove. O no! it is an ever fixed mark, It is the star to every wandering bark, Love's not Time's fool; the rosy lips and cheeks Within his bending sickle's compass come. Love alters not with his brief hours or weeks, where is the face? Lady Percy has neither chin, cheeks, nor forehead. The head-dress, if it had a head to stand on, is not in bad costume, but the garments bear not the remotest resemblance to the tight-furred surcoat of the age of our Henry the Fourth; and how came Lady Percy by one of the plaited paper screens sold at the Fancy-fairs of our times. A feather fan she might have known. But bears it out e'en to the edge of what to do with, but she certainly never doom. If this be error, and upon one prov'd, We can scarcely tear ourselves from the contemplation of this interesting little volume. We recommend its study, not its imitation, to the publishing poets of England. The Shakspeare Gallery. Parts 10 and 11. Tilt. We cannot afford our usual meed of approbation to number 10: indeed, we regret to see see it intervene between the various excellencies of the preceding, and we trust the succeeding, numbers. Mrs. Ford is in a vulgar style of caricature, her ugliness ought to have been an effectual shield against the jealousy of Mr. Ford, without that gentleman had been afflicted with a more advanced state of lunacy than Shakspeare has given him credit for; we should have thought that Mrs. Page, her coadjutor, the mother of a grown-up daughter, was greatly wronged by this representation; but the young and lovely Mrs. Ford, fie on Mr. Meadows! or did he mean that coarse bold-faced woman for Mrs. Quickly, and have the printer's made a mistake? What do the flight of white moths or butterflies mean so near her face? We cannot guess what they are intended for. Maria in "Twelfth Night" is a happier design, and though rather artificial, reminds us of the style of the lamented Newton. But Newton would have toned up the back ground and thrown that figure magically forward, almost out of the page. It is a fine outline lost, from want of bold effective chiaro scuro. Robinson has thrown away some brilliant and soft engraving upon the most impracticable and ugly figure that ever was designed : he has handled the features well, but had been to a "charity bazaar," and, therefore, could not have helped herself to part of its stock-in-trade; this seems a trifle, but when a lady of the middle ages carried the peacock feather screen, or the graceful feather fan,* it is bad taste in a painter to encumber her with a stiff piece of modern trumpery. Painters require a deep study of historical costume, and should turn their eyes and thoughts from the ignorances and follies of actors when they are depicting the characters of Shakspeare, especially when they approach his historical plays. We do not attempt to criticise the costume of Olivia, Viola, or Maria, or the other enchanting personages that glide through the no-man's land and age of Illyria, or the sea-girt Bohemia. Rosalind may rove through the forest of Ardennes in any guise she pleases, excepting a farthingale; but when we approach the times of the Plantagenets, there are plenty of historical portraits extant, whose style of dress, if drawn with ease and grace, would combine the charms of novelty and truth, and lead the stage, instead of suffering it to dictate its faded ideas to the painters of our age. Kemble patched up a sort of costume which was a union of the styles of dress from the reign of Henry the Eighth to Charles the First, in which he represented the characters of every era from the time of King John: this was a more graceful mistake than performing Macbeth as Garrick did in a brigadier-general's wig and dress uniform, but it was quite as ignorant an act. We are great admirers of this popular and beautiful work, and wish to see its artists take their proper places as the guides and examples of our depreciated and fallen stage. several of our portraits. Architectural Magazine, conducted by THESE numbers of the Architectural contain several papers of no ordinary interest; we have read, with great pleasure and profit, the description of the Architecture of the Ancient Castles of Great Britain; likewise the elegant papers by Mr. Humphreys, which ought not wholly to be confined to the scientific reader. As to matters of immediate domestic comfort, in which the ladies are concerned, we would advise all persons who are considering the expediency of having their houses warmed by flues, to read the opinions of this magazine on that subject; for this is a matter on which there is a vast deal of quackery abroad, and much expensive mischief perpetrated. The woodcut representing the mode of cleaning windows and whit ening houses without danger, ought to be seen by all housekeepers, great and small. In the last number there is a paper on cemeteries, written rather sentimentally, but with so little information as to fact, that the author says, "Even in London, where, perhaps, greater obstacles exist than elsewhere, owing to the difficulty of obtaining land within a reasonable distance, something has been effected!" We suppose he is a provincial person, who has never seen the Harrow Cemetery, founded by Mr. Carden, as well as others, during the last and present year, but bent on describing one only, that near Liverpool; but we cannot help thinking, that a spot of nearly sixty acres, chosen as it was by the founder, with a taste that is now acknowledged, by our first-rate authors, to have been masterly-we cannot help thinking that such a cemetery is a pretty considerable something!! Careless papers of this description do great harm to a work of real merit; the public must suspect the talent of an editor who is so behindhand in information which is known to everybody but his contributor, and (quære) himself. Pinnock's English Grammar, upon an entirely new principle. Thomas. PINNOCK is perfectly right in his assertion, that his grammar for the junior classes is written on a new plan. We have lately reviewed several grammars, yet here, for the first time, we find a clear and satisfactory statement of the variations of the relative pronoun who. Children are often punished for the misuse of this pronoun, when, in fact, their teachers or their grammars are most in fault. But the author claims, in his title-page, the novelty of directing his the pupil; a point of great importance instructions as much to the teacher as to to ladies who educate their own families, to whom this good little book will be a treasure; for, though many practise it as amateurs, the art of teaching well re quires a great depth of learning, or there is much wear and tear of patience both for teacher and pupil. Mythology for Children—The Gods of Homer and Virgil.-Thomas. THIS is a useful and well-written little book, containing as much information on the subject of the heathen divinities, as is needful for most people to know. The explanatory prose is accompanied by carefully-selected passages from our best translations of the classics, which very well illustrate the several well-executed embellishments. There are, moreover, slight biographies of the eminent poets of antiquity, and a synopsis explanatory of the names met with in classic poetry, alphabetically arranged, and tastefully illustrated with quotations. If the names in this synopsis had been properly accented, it would have been an improvement. The introduction is elegantly written, and in a strain of piety suitable to the purpose. It merits an extensive circulation. Fisher's Juvenile Scrap-Book for 1838. REPORT says, that there will be a great falling off in the number of annuals for the season 1838; several of the full-grown yielding up their literary life. We also hear, from good authority, that the present is the only juvenile annual |