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“Renaissance in Italy.” According to the author's time of the Renaissance, to invest every phase and design, this work will comprise four volumes, enti- variety of intellectual energy with the form of art. tled respectively “The Age of the Despots” (deal. Nothing notable was produced in Italy between the

thirteenth and the seventeenth centuries that did not ing with the politics of the period), “ The Revival bear the stamp and character of fine art. If the of Learning” (dealing with its scholarship), “ The methods of science may be truly said to regulate Fine Arts,” and “ Italian Literature." Though our modes of thinking at the present time, it is no these volumes, taken together and in the order less true that during the Renaissance art exercised planned, form one connected study of Italian cul.

a like controlling influence. Not only was each deture at a certain period of history, still each is com- partment of the fine arts practiced with singular

success; not only was the national genius to a very plete in itself, treats of a distinct department of the large extent absorbed in painting, sculpture, and general subject, and can be read independently of architecture—but the æsthetic impulse was more its companions. Each installment of the work as it subtly and widely diffused than this alone would imappeared has been very warmly received in Eng- ply: It possessed the Italians in the very center of land, and the work as a whole seems destined to all the manifestations of their thought and feeling,

their intellectual vitality, imposing its conditions on meet and satisfy the want which has so long been

so that even their shortcomings may be ascribed in a inadequately supplied by the writings of Rio and great measure to their inability to quit the æsthetic Roscoe. In introducing it to the American public point of view. the publishers, availing themselves of the present demand for works on the fine arts, have selected the The whole of this first chapter is most valuable third volume ; * intimating, however, that, should this and suggestive-profound without being pedantic, meet with the reception to which its acknowledged and eloquent without being rhetorical. It discusses merits entitle it, the republication of the other vol. the relation of art to the character and culture of umes will speedily follow.

the Italian people, the reasons why painting instead In attempting now to define the character of this of sculpture became the supreme art of the Renaisspecial volume, we should say at the start that, sance period, the differences between ancient and though complete in itself, its method of treatment is modern art, the relation of the fine arts to Chrisshaped by the nature of the general work of which tianity, the essential antagonism between piety and it foxms a part. The author does not content him- art, the compromises effected by the Church, and self with retracing the history of the Italian arts, the humanization of ecclesiastical ideas by art. All treating them as an isolated and independent phe. these topics are discussed with a vigor and clearness nomenon, but endeavors to define their relation to the which leaves nothing to be desired, and there are few main movement of Renaissance culture, of which so versed in the history and philosophy of art as not they were simply one phase or mode of expression. to find in Mr. Symonds's pages food for reflection “Keeping this, the chief object of my whole work, and stimulus to thought. Particularly suggestive steadily in view, I have tried to explain the depen- are the paragraphs in which he treats of the relation dence of the arts on mediæval Christianity at their of art to Christianity. This, as he says, is the most commencement, their gradual emancipation from ec

difficult and thorny question offered to the underclesiastical control, and their final attainment of standing by the history of the Renaissance : freedom at the moment when the classical revival culminated." This subordination of the special sub

On the very threshold of the matter I am bound

to affirm my conviction that the spiritual purists of ject of the work to a more comprehensive theme by all ages—the Jews, the iconoclasts of Byzantium, no means fetters the treatment, but, on the contrary, Savonarola, and our Puritan ancestors-were justiby exhibiting the fine arts in their proper relations fied in their mistrust of plastic art. The spirit of to the circumstances which produced, and shaped, Christianity and the spirit of figurative art are opand fostered them, gives them a new significance it can not free itself from sensuous associations. It

posed, not because such art is immoral, but because and a keener interest. The revival of sculpture and is always bringing us back to the dear life of earth, painting at the end of the thirteenth century was from which the faith would sever us. It is always reamong the earliest signs of that new intellectual birth minding us of the body which piety bids us to forget. to which the title of Renaissance has been given ; Painters and sculptors glorify that which saints and and the history of the entire period, with its gradual and Correggio, for example, lead the soul away from

ascetics have mortified. The masterpieces of Titian evolution and sudden mutations, is unmistakably re- compunction, away from penitence, away from worflected in these most sympathetic and sensitive of ship even, to dwell on the delight of youthful faces, the arts. How dominant a rôle art played in that blooming color, graceful movement, delicate emospecial phase of the Renaissance which was illus- tion. . . . When the worshiper would fain ascend trated in Italy, Mr. Symonds is obliged to direct at- unrealized, how can he endure the contact of those

on wings of ecstasy to God, the infinite, ineffable, tention to at the very threshold of his work. Here

splendid forms in which the lust of the eye and the is the opening paragraph of his book:

pride of life, professing to subserve devotion, remind

him rudely of the goodliness of sensual existence? It has been granted only to two nations, the Greeks and the Italians, and to the latter only at the carnal loveliness are themselves hostile to the spirit

. . The sublimity and elevation it (art] gives to * Renaissance in Italy. The Fine Arts. By John fesh. As displayed in its most perfect phases, in

that holds no truce or compromise of traffic with the Addington Symonds. New York: Henry Holt & Co. Greek sculpture and Venetian painting, art dignifies Svo, pp. 550.

the actual mundane life of man ; but Christ, in the


language of uncompromising piety, means every- Burroughs, and we may add now that this resemthing most alien to this mundane life--self-denial, blance becomes still more noticeable in reading Mr. abstinence from fleshly pleasure, the waiting for true Burroughs's “ Locusts and Wild Honey"* so soon bliss beyond the grave, seclusion even from social and domestic ties.

after the Englishman's work. There is just the disIf, then, there really exists this antagonism be- ference between the two books that there is between tween fine art glorifying human life and piety con- the surroundings of their authors; Mr. Burroughs temning it, how came it, we may ask, that even in having a certain wild and adventurous favor, as of the middle ages the Church hailed art as her coad- primitive woods and remote mountain fastnesses, jutor? The answer lies in this, that the Church has always compromised. When the conflict of the first while the Englishman's so-called wild life is after all few centuries of Christianity had ended in her tri- but the qualified wildness of a nature which is linked umph, she began to mediate between asceticism to man by many and long-continued associations, and the world. Intent on absorbing all existing ele- The Englishman's observations, varied and interestments of life and power, she conformed her system ing as they are, are confined to the limits of a farm to the Roman type, established her service in basili- and a small section of adjacent country, which have cas and pagan temples, adopted portions of the antique ritual, and converted local genii into saints. been inhabited and cultivated by man for many genAt the same time she utilized the spiritual forces of erations; Mr. Burroughs, on the other hand, roams monasticism, and turned the mystic impulse of ec, from Virginia to Canada, and, though nothing repels statics to account. ... The Christianity she formed his curiosity merely because it is homelike and comand propagated was different from that of the New monplace, yet he draws his happiest inspirations from Testament, inasmuch as it had taken up into itself a mass of mythological anthropomorphic elements. those virgin and untrodden wildernesses where the Thus transmuted and materialized, thus accepted by traces of man are lost in the immensity and profuthe vivid faith of an unquestioning populace, Chris- sion of nature. tianity offered a proper medium for artistic activity. This wild, free, adventurous spirit is more noticeThe whole first period of Italian painting was occu- able in “ Locusts and Wild Honey” than in any pied with the endeavor to set forth in form and color the popular conceptions of a faith at once unphilo- previous work of Mr. Burroughs. The title, as he sophical and unspiritual, but beautiful and fit for art admits, is allegorical rather than strictly descriptive, by reason of the human elements it had assumed into but, “if the name carries with it a suggestion of the its substance. It was natural, therefore, that the wild and delectable in nature, of the free and unChurch should show herself indulgent to the arts, garnered harvests which the wilderness everywhere which were effecting in their own sphere what she affords to the observing eye and ear,” it will prove, had previously accomplished, though purists and ascetics, holding fast by the original spirit of their as he says, sufficiently explicit for his purpose ; and, creed, might remain irreconcilably antagonistic to in fact, the title is in a peculiar degree suggestive of their influence. The Reformation, on the contrary, the contents of the volume. These contents conrejecting the whole mass of compromises sanctioned sist of a number of detached papers dealing with by the Church, and returning to the elemental prin- such subjects as “The Pastoral Bees," ciples of the faith, was no less naturally opposed to Strawberries," "Is it going to Rain?” “Speckled

Sharp Eyes,” the fine arts, which, after giving sensuous form to Catholic mythology, had recently attained to liberty, Trout,” “ Birds and Birds,' “ A Bed of Boughs,” and brought again the gods of Greece.

Birds’-Nesting,” and “The Halcyon in Canada.”

The title of a paper is usually no more descriptive Following this teeming and instructive first chap- than the title of a book, but is used as a sort of picter there are a chapter on Architecture, a chapter on turesque summary of its general contents. It would Sculpture, and four chapters on Painting, which was, be very difficult, in fact, to describe in a phrase or a as we have said, the paramount art of the Renais.

sentence any half-dozen consecutive pages of Mr. sance, and to which much the greater portion of the Burroughs's work; for he does not aim at expoundbook is assigned. A chapter each is assigned to Mi- ing a theory or inculcating doctrine, but simply lays chael Angelo and Benvenuto Cellini, who are por before us a selection from the varied and manifold trayed at full length as typical (though contrasted) secrets and confidences which Nature withholds jealfigures of the Italian Renaissance. A final chapter traces the decline of the art of painting through the ously from the careless or the inattentive, but which

she seems eager to disclose to the loving and vigilant sixteenth century to the extinction of the Renais.

observer. sance impulse ; and there are three appendices, com

Perhaps the most effective and certainly the prising papers on the Pulpits of Pisa and Ravello, pleasantest way to convey an idea of the contents on Michael Angelo's Sonnets, and Chronological of the book will be to quote a few illustrative pasTables.

A more valuable treatise on art has not recently sages taken almost at random from the different chapbeen offered to students, and it is to be hoped that it ters. By comparing these with the similar quotations will meet with such a welcome as will insure the re- County," the reader will be able to obtain a very good

(in our last number) from “Wild Life in a Southern publication of the remaining volumes of the series idea of the resemblances and differences between two in which it appears.

books which are unusually charming examples of a very delightful species of literature. The chapter

“Bees" is full of quaint and curious lore, and we In our notice last month of “Wild Life in a Southern County" we spoke of the resemblance of * Locusts and Wild Honey. By John Burroughs. the author's method and style to that of Mr. John Boston: Houghton, Osgood & Co. 16mo, pp. 253.



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shall by and by quote a passage from it; but our a pole. The phrenologists do well to locate, not first selection shall be taken from the essay on only form, color, weight, etc., in the region of the “Sharp Eyes," as defining the faculty and the habit eye, but a faculty which they call individuality-that by which Mr. Burroughs has been enabled to garner object its essential character. This is just as neces

which separates, discriminates, and sees in every the copious harvest from which he offers us suchsary to the naturalist as to the artist or the poet. opulent and varied sheaves :

The sharp eye notes specific points and differences

-it seizes upon and preserves the individuality of Noting how one eye seconds and reënforces the the thing.-- (Pages 37, 53, 55.) other, I have often amused myself by wondering what the effect would be if one could go on opening

Here is the promised passage from the chapter eye after eye to the number of a dozen or more.

“ The Pastoral Bees": What would he see? Perhaps not the invisiblenot the odors of flowers or the fever-germs in the air

It is the making of the wax that costs with the --not the infinitely small of the microscope or the bee. As with the poet

, the form, the receptacle, infinitely distant of the telescope. This would re

gives him more trouble than the sweet that fills it, quire, not more eyes so much as an eye constructed though, to be sure, there is always more or less with more and different lenses ; but would he not

empty comb in both cases. The honey he can have see with augmented power within the natural limits for the gathering, but the wax he must make himof vision? At any rate, some persons seem to have self—must evolve from his own inner consciousness. opened more eyes than others, they see with such When wax is to be made the wax-makers fill theme force and distinctness ; their vision penetrates the selves with honey and retire into their chamber for tangle and obscurity where that of others fails like a private meditation : it is like some solemn religious spent or impotent bullet. How many eyes did Gil rite; they take hold of hands, or hook themselves bert White open? how many did Henry Thoreau? together in long lines that hang in festoons from the how many did Audubon ? how many does the hunter, top of the hive, and wait for the miracle to transmatching his sight against the keen and alert sense pire. After about twenty-four hours their patience of a deer or a moose, or a fox or a wolf? Not out- scales of which are secreted from between the rings

is rewarded, the honey is turned into wax, minute ward eyes, but inward. We open

another ever we see beyond the first general features or out

of the abdomen of each bee; this is taken off and lines of things—whenever we grasp the special details from it the comb is built up. It is calculated that and characteristic markings that this mask covers.

about twenty-five pounds of honey are used in elabScience confers new powers of vision. Whenever

orating one pound of comb, to say nothing of the you have learned to discriminate the birds, or the time that is lost. Hence the importance, in an plants, or the geological features of a country, it is economical point of view, of a recent device by as if new and keener eyes were added. ...

which the honey is extracted and the comb returned A man has a sharper eye than a dog, or a fox, or

intact to the bees. But honey without the comb is than any of the wild creatures, but not so sharp an

the perfume without the rose-it is sweet merely, But in the birds he finds his match. and soon degenerates into candy. Half the delecHow quickly the old turkey discovers the hawk, a

tableness is in breaking down these frail and exquisite mere speck against the sky, and how quickly the walls yourself, and tasting the nectar before it has hawk discovers you if you happen to be secreted in lost is freshness by contact with the air. Then the the bushes, or behind the fence near which he alights! comb is a sort of shield or foil that prevents the One advantage the bird surely has, and that is, ow

tongue from being overwhelmed by the first shock ing to the form, structure, and position of the eye,

of the sweet.(Page 15.) it has a much larger field of vision-indeed, can probably see in nearly every direction at the same

The essay on “Strawberries" is only less succuinstant, behind as well as before. Man's field of lent and delicious than the berries themselves, and it vision embraces less than half a circle horizontally, would be difficult to say which leaves the more punand still less vertically; his brow and brain prevent gent and characteristic flavor upon the palate. The him from seeing within many degrees of the zenith reader has probably enjoyed the eating of strawwithout a movement of the head; the bird, on the berries in the past, and retains a grateful recollection other hand, takes in nearly the whole sphere at a glance, I find I see, almost without effort, nearly of them; but Mr. Burroughs will be apt to make him every bird within sight in the field or wood I pass feel that he has hitherto done them but scant justice through (a fit of the wing, a flirt of the tail are --that his appreciation has been far inferior to their enough, though the flickering leaves do all conspire deserts. In celebrating them, indeed, the author to hide them), and that with like ease the birds rises to strains of dithyrambic fervor: see me, though unquestionably the chances are immensely in their favor. The eye sees what it has On the threshold of summer, Nature proffers us the means of seeing, truly. You must have the bird this, her virgin fruit; more rich and sumptuous are in your heart before you can find it in the bush. to follow, but the wild delicacy and fillip of the The eye must have purpose and aim. No one ever strawberry are never repeated—that keen feathered yet found the walking fern who did not have the edge greets the tongue in nothing else. Let me not walking fem in his mind. A person whose eye is be afraid of over-praising it, but probe and probe for full of Indian relics picks them up in every field he words to hint its surprising virtues. We may well walks through.

celebrate it with festivals and music. It has the inThe habit of observation is the habit of clear and describable quality of all first things-that shy, undecisive gazing ; not by a first casual glance, but by cloying, provoking, barbed sweetness. It is eager a steady, deliberate aim of the eye are the rare and and sanguine as youth. It is born of the copious characteristic things discovered. You must lookin- dews, the fragrant nights, the tender skies, the plentently and hold your eye firmly to the spot, to see tiful rains of the early season. The singing of birds more than do the rank and file of mankind. The is in it, and the health and frolic of lusty Nature. sharp-shooter picks out his man and knows him with It is the product of liquid May touched by the June fatal certainty from a stump, or a rock, or a cap on sun. It has the tartness, the briskness, the unruli.

ear or nose.


ness of spring, and the aroma and intensity of sum- In the following passage the author interprets

the secret of a feeling which is no doubt often expeOh, the strawberry days ! how vividly they come rienced by what Carlyle calls “the fatal generation back to one! The smell of clover in the fields, of blooming rye on the hills, of the wild grape beside

of sight-seers": the woods, and of the sweet honeysuckle and spiræa

The next morning we set out per steamer for the about the house. The first hot, moist days. The Saguenay, and entered upon the second phase of our daisies and buttercups, the songs of the birds, their travels, but with less relish than we could have first reckless jollity and love-making over, the full wished. Scenery-hunting is the least satisfying purtender foliage of the trees, the bees swarming, and suit I have ever engaged in. What one sees in his the air strung with resonant musical chords. The necessary travels, or doing his work, or going a-fishtime of the sweetest and most succulent grass, when ing, seems worth while, but the famous view you go the cows come home with aching udders. Indeed, out in cold blood to admire is quite apt to elude you. the strawberry belongs to the juiciest time of the Nature loves to enter a door another hand has year. What a challenge it is to the taste, how it opened ; a mountain view, or a waterfall, I have nobites back again ! and is there any other sound like ticed, never looks better than when one has just the snap and crackle with which it salutes the ear on

been warmed up by the capture of a big trout. If being plucked from the stems? It is a threat to one

we had been bound for some salmon-stream up the ser.se that the other is soon to verify;, It snaps to Saguenay, we should perhaps have possessed that the ear as it smacks to the tongue. All other berries generous and receptive frame of mind-that open are tame beside it.(Page 65.)

house of the heart—which makes one “eligible to Like every other lover of Nature for its own any good fortune," and the grand scenery would have

come in as a fit sauce to the salmon. sake, Mr. Burroughs is an enthusiastic angler, and

An adventure, some of the most delightful writing in his book will when he goes forth to admire woods and waters,

a bit of experience of some kind, is what one wants be found in the chapters on “Speckled Trout,” “A something to create a draught and make the embers Bed of Boughs,” and “ The Halcyon in Canada," of thought and feeling brighten. Nature, like cereach of which describes a separate fishing expedi- tain wary game, is best taken by seeming to pass by tion. It should be said, however, that he enjoys the her intent on other matters.-(Page 246.) sport less for the mere fish which it secures than be

These excerpts, it should be said, indicate but cause it affords the opportunity of getting at close imperfectly the quality of the book, and moreover quarters with Nature in her most confidential and illustrate only one of its characteristic features. Perfascinating aspects :

haps the most piquant and entertaining passages are I have been a seeker of trout from boyhood she those in which the author narrates some of his persays), and on all the expeditions in which this fish sonal experiences and adventures, and for none of has been the ostensible purpose I have brought home these have we been able to make room. more game than my creel showed. In fact, in my mature years I find I got more of nature into me, more of the woods, the wild, nearer to bird and beast, while threading my native streams for trout,

The character and merits of the series of “Engthan in almost any other way. It furnished a good excuse to go forth; it pitched one in the right key; it lish Men of Letters ” are probably by this time so sent one through the fat and marrowy places of field well known to our readers that to say of the two and wood. Then the fisherman has a harmless, pre- latest volumes that they are up to the average of the occupied look; he is a kind of vagrant that nothing series without quite equaling the best which it confears. He blends himself with the trees and the tains will, perhaps, give a sufficiently exact idea of shadows. All his approaches are gentle and indirect. He times himself to the meandering, solilo- their quality. Dean Church's “Spenser”* is not quizing stream ; its impulse bears him along. At the kind of work to attract or gratify the general the foot of the waterfall he sits sequestered and hid- reader, but it is probably the best guide to the study den in its volume of sound. The birds know he has of Spenser that can be obtained. There is no great no designs upon him, and the animals see that his mind is in the creek. His enthusiasm anneals him, poem in any language which stands so much in need and makes him pliable to the scenes and influences

of commentary and explanation, which, in other he moves among.

words, is so apt to prove puzzling and baffling to the I am sure I run no risk of over-praising the charm reader who comes to it without preparation and and attractiveness of a well-fed trout-stream, every without the key, as the “Faerie Queene." Accorddrop of water in it as bright and pure as if the ing to the plan of the author, the explanation which nymphs had brought it all the way from its source in would have removed all difficulties was to have been crystal goblets, and as cool as if it had been hatched beneath a glacier. When the heated and soiled and given in the concluding book ; but, as only six books jaded refugee from the city first sees one he feels as of the intended twelve were ever published, such if he would like to turn it into his bosom and let it help as the author himself might have afforded is flow through him a few hours, it suggests such heal. confined to the brief introductory epistle to Sir Waling freshness and newness. How his roily thoughts ter Raleigh, in which he outlines or summarizes his would run clear; how the sediment would stream! Could he ever have an impure or an un- scheme, and suggests the moral which he intended to wholesome wish afterward? The next best thing he teach. The assistance furnished by this outline, can do is to tramp along its banks and surrender however, is by no means sufficient to enable the read. himself to its influence. If he reads it intently enough, he will, in a measure, be taking it into his * English Men of Letters. Edited by John Morley. mind and heart, and experiencing its salutary minis- Spenser. By R. W. Church, Dean of St. Paul's. New trations.-(Page 109.)

York: Harper & Brothers. 16mo, pp. 180.

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er to understand and appreciate the poem. He must Among his countrymen there are many who are so know something of the circumstances under which captivated with his brilliant gifts and his genial temit was conceived and composed; of the condition of perament that they will not listen to any hint at the the English literature and language at the time it deep defects which marred them. Some would even

go so far as to claim honor for him not only as Scotwas written ; of the social and poetic ideals which land's greatest poet, but as one of the best men she were current at the time, and which would tend has produced. Those who thus try to canonize more or less to shape the author's design; of the Burns are no true friends to his memory. They do personal and other influences to which he was ex

but challenge the counter-verdict, and force men to posed ; and of the extent to which the poem itself recall facts which, if they can not forget, they would

fain leave in silence. These moral defects it is ours aided in creating the standard by which it has since

to know ; it is not ours to judge him who had them. been judged. All these points are treated by Dean –(Page 186.) Church in a manner which is at once comprehensive and concise, combining fullness of information and

The estimate of the character and quality of breadth of scholarship with acute critical insight and cing of merits and defects, combined always with

Burns's work is marked by the same impartial balanunusual soundness and temperateness of judgment. that reverence and grateful appreciation which is the Such details of Spenser's life as investigation has brought to light are also narrated with clearness and due of great genius, however it may be mixed with animation ; and the book, if not the most attractive, author, " the genuine song is the most penetrating

baser alloy. “Of all forms of literature,” says the is likely to prove one of the most useful members and the most to be remembered ; and in this kind of the series. Principal Shairp's “Burns "* is much more like

Burns is the supreme master.” In another place he ly to achieve popular success. It is not more skill. pronounces Burns “the greatest lyric singer the

world has known.” Of the two or three hundred fully executed, perhaps, but the story of Robert Burns is one of the most touching and interesting in songs written by him, there are many beneath his all the annals of literature, and the materials for it genius, but thirty or forty of them come up to the are so abundant that a biographer has little more to

very highest standard. And “these songs embody do than select and arrange what he finds best adapt

human emotion in its most condensed and sweetest ed to his purposes. Principal Shairp has not at.

essence. They appeal to all ranks, they touch all tempted to narrate Burns's life in much detail

, but ages, they cheer toil-worn men under every clime. he brings out the leading and characteristic features

Wherever the English tongue is heard, beneath the of it with a clearness and emphasis that can hardly suns of India, amid African deserts, on the Western fail to lodge them firmly and permanently in the lia—wherever men of British blood would give vent

prairies of America, among the squatters of Austrareader's mind. His portrait is not likely to satisfy to their deepest, kindliest, most genial feelings, it is in all respects either the admirers or the detractors of Burns, for he aims at strict accuracy and imparti- find in them at once a perfect utterance and a fresh

to the songs of Burns they spontaneously turn, and ality, and few men have illustrated more strikingly tie of brotherhood. It is this which forms Burns's than Burns the truth of Shakespeare's saying that "the web of life is of a mingled yarn, good and ill

most enduring claim on the world's gratitude." together.” One thing regarding Burns is plain to every one, and, indeed, makes his career the painful

The critic is likely to be somewhat baffled in the tragedy it was—the contradiction between the noble gifts he had and the actual life he lived. “When, Adams's "The Secret of Success," * because the

attempt to pass a verdict upon Mr. W. Davenport however,” says Principal Shairp, we look more

very things which it is most obvious and most natural closely into the original outfit of the man, we seem

to say about it are admitted in advance by the auin some sort to see how this came to be."

thor himself. He confesses at the outset that he has Given a being born into the world with a noble no exclusive, peculiar, or wonderful “secret " to un. nature, endowments of head and heart beyond any fold ; that if there be a royal road to success, he of his time, wide-ranging sympathies, intellectual does not know of it; and that the reader who goes to force of the strongest man, sensibility as of the tenderest woman, possessed also by a keen sense of his book in the hope of learning some new and easy right and wrong which he had brought from a pure way of making money, or some fresh exposition of home-place all these high gists on the one side, and the Gospel of Getting-on, will probably find him. over against them a lower nature, fierce and turbu. self disappointed. “I do, indeed,” he says, "prolent, filling him with wild passions which were hard to restrain and fatal to indulge–and between these fess to set forth the Secret of Success ; but it is a two opposing natures a weak and irresolute will, secret which has always been known to the successwhich could overhear the voice of conscience, but ful. And then, again, the Success to which I seek had no strength to obey it ; launch such a man on to direct the reader's attention is no novel form of such a world as this, and it is but too plain what the end will be. From earliest manhood till the close flesh and spirit were waging within him interminable

* The Secret of Success, or how to get on in the war, and who shall say which had the victory? World. With some Remarks upon True and False

Success, and the Art of making the Best Use of Life. * English Men of Letters. Edited by John Morley. By W. H. Davenport Adams. American edition, edited Robert Burns. By Principal Shairp. New York: Har- by P. G. H. New York: G. P. Putnam's Sons. 12mo per & Brothers. 12mo, pp. 205.

pp. 389.

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