CRITICAL NOTICES. Maith agus Dearmad.-Rosanna. [Forgive and Forget, a Tale, by Maria Edgeworth. Rosanna, by the same. Translated into Irish for the Ulster Gaelic Society, by Thomas Feenachty, Teacher of Irish in Belfast.] Dublin: William Curry, Jun. and Co; Richard Coyne. Belfast: Samuel Archer, and William M'Comb. 1833. Our northern neighbours have in more than one instance shown a praiseworthy desire to rescue from destruction the remaining monuments of Ireland's ancient days. Many of our readers must remember that it was in Belfast that the famous meeting of the Irish Harpers took place in the year 1792, when prizes were adjudged to the most skilful of the bards, and the ancient Irish melodies were written down by an eminent musical professor as they were performed; thus seizing perhaps the last opportunity of saving a number of those relics so dear to every Irisman, and which are now known throughout Europe. At a subsequent period the "Irish Harp Society" was commenced in Belfast, for the cultivation and perpetuation of that national instrument; and, being assisted by contributions from Irish gentlemen resident in India, has continued to the present day. The harpers educated under its auspices, (who are generally blind,) are to be met with in all parts of Ireland; and even in many of the towns throughout England and Scotland the Belfast harper may be heard touching the sounding strings." In all human probability, but for the exist ence of this patriotic institution, the "Harp of Tara's halls" would ere now have sunk in silence for ever. in the Royal Belfast Academical Institution. The late resolution of the Synod of Ulster, rendering it imperative on the students connected with that body to be acquainted with the Irish language, augurs well for the success of the latter undertaking. They Very soon after the opening of their Irish classes, the Society found a most lamentable deficiency of books, adapted either for introducing the English student to the modern dialect of the language, or for the use of the native Gael. therefore determined to prepare a series of translations from approved English authors, suitable to their design; and the present work is the first of that series. The choice of two of the interesting narratives of our own Miss Edgeworth, was but a merited compliment to an admirable writer, and a fit commencement to an undertaking so truly Irish; and the selection of the tales themselves, one having the scene laid in Ireland, the other inculcating a valuable moral lesson, was, we think, well judged. The dedication of the work (in Irish and English) is to the Marquis of Downshire, who seems to have taken a lively interest in the Society. We give the following extract from it: "Small though this volume is, we cannot but hope that its publication will form an era in the history of the Celtic Literature of Ireland. Under less favourable circumstances, and with a far narrower field of usefulness, the cultivation of the aboriginal languages of Wales and the Scottish Highlands has advanced with a rapidity which the most sanguine of its first promoters never expected; and has been the means, in each of these countries, of introducing improvement of every kind among a secluded race, whom it could not have reached through any other channel. It is pleasing to observe the same spirit still manifesting itself. Another association has been established, about three years since, in the same town, under the name of the Ulster Gaelic Society," having for its objects the preservation of the ancient literature of Ireland, and the publication of books in the Irish language, to facilitate its study. The little work "The Society felt no hesitation in now before us is the first of its efforts in determining, that one of the first steps in the latter department; but the fruits of their operations should be to render some its exertions have already appeared in the of Miss Edgeworth's admirable lessons establishment of a teacher of the Irish of prudence and morality accessible to a language, for the last three years in large class of her countrymen hitherto Belfast; a growing taste for its cultiva- debarred from them—the only difficulty tion in that town; and, very recently, was to make a selection where all is so the formation of an Irish class for students excellent. We hope that the tales which * Moore's words to the Irish Melodies have been lately translated into Russian. have been fixed on by the Society, will be thought not unsuitable to the peculiar state of Ireland; and we know your lordship will join us in wishing that the humblest of our countrymen may attain the independence and comfort which rewarded the industry of the farmer of Rosanna;' and that men of all parties, laying aside their animosities, may learn to Forgive and Forget.' The translation of these tales is executed faithfully, and the spirit of the author well preserved. The language of the second,' Rosanna, we consider decidedly superior to the first. In both, the translator has very properly aimed at introducing, as much as possible, the modern colloquial language of the Irish; and in several instances the substitution of the Irish idioms for the English is managed very happily. The work is printed in the Irish character with great neatness, and scarcely contains a single typographical error; which is the more surprising when we consider how few persons have had practice in correcting Irish letter press. The original English of the tales is annexed. We shall only mention, in addition, that the price is extremely moderate. The Ulster Gaelic Society has our warmest wishes for its success, and we hope soon to have to announce a continuation of its spirited undertaking. Edinburgh Cabinet Library, Vols. 13, 14. His- The History of Arabia, forming the 13th and 14th volumes of the series, we have perused with the attention they deserve, and pronounce to have been most ably and judiciously written. There is no topic of interest connected with this attractive subject which Mr. Crichton has not discussed and illustrated with taste and ability; he has made an easy and agreeable style the vehicle of the most copious information which it would be possible to afford in the execution of his task. Arabia, but little known, and less appreciated, has met with a highly qualified historian, who has exhibited no less research in her romantic annals, than accurate acquaintance with her inhabitants, and the various productions of her peculiar soil. We gladly extend to the History of Persia the commendation which we have bestowed upon its predecessor: it is equally interesting and equally well executed. It abounds with valuable information, and is seasoned with extraordinary and characteristic anecdotes. Had space permitted, it was our intention to have extracted largely from this and the preceding work; but after all, we are inclined to think it an act of injustice to select one or two specimens from a work, which, from its excessive cheapness, is well calculated for that general circulation to which, from the nature and extent of its subject, it is most deservedly entitled. For ourselves, we have read with interest and attention the volumes before us, and uninfluenced as we shall ever be in our praise or censure, we candidly bestow the former in all its unexceptionable fulness upon these able works. Since its outset, the Edinburgh Cabinet Library has been markedly distinguished as an excellent ally by the literary and scientific world; indebted as it is to the judicious compilation, or in most instances the peculiar attraction of its talented contributors, we should feel much disappointed if it were not prized as a standard work of reference, independently of its many other claims upon public attention. It is scarcely necessary for us to say that we sincerely wish this offspring of the "Modern Athens" all the success which it deserves. We have always considered it an indispensable to our library, and we do not know any whose taste upon this point is at issue with our own. We must not forget to notice the illustrations of both Arabia and Persia; 2 P which consist of full and accurate maps, with a number of wood cuts, which may justly be ranked among the finest specimens of that highly improved and most available art. Oliver and Boyd's Catechisms. A Catechism of Natural Philosophy, by George Lees, A.M. A Catechism of Botany, by William Rhind. Edinburgh, 1834. These little books contain a very considerable fund of information, expressed in simple and intelligible language, and possess what has hitherto been much neglected in treatises of their kind, a very useful supply of explanatory wood cuts. We will merely warn the careless teacher, that books like these are even worse than useless if they are only, as we fear is too often the case, got off by rote; giving the pupil that most pernicious habit of using words without attaching to them any clear or distinct ideas. Catechisms of this nature require the greatest assiduity on the part of the master, in examining the pupil on every question he answers, and in explaining by very numerous familiar examples, the strict meaning of the terms he has used. The Rainbow, a literary gift. Dublin; Gibton and Overend. 1834: This is an unpretending and meritorious little volume, partly compiled and partly original. It contains some highly interesting and instructive pieces in prose and verse. The authoress has published it with a view, it would appear, to the advancement of her own pupils in literary taste. It is far too useful and too good to be so limited. We sincerely wish it the general encouragement which its object and execution deserve. devoted to the recording the labours of the good man and the divine, and we hail this little volume as the promise, or rather as a part performance of an extended and useful collection of metaphysical and practical theology. The plan and principles on which the publication is to be conducted, is fully set before the readers in the advertisement: to compile "an uniform Library of Divinity;" and if such object be steadily and faithfully kept in sight, we may well expect to find no dry or uninteresting contemplation for the exclusive study of the clerical student; but a beautiful as well as a fragrant wreath, in which the names of many a gentle bard, and wit, and philosophic sage shall shine; for they, too, have ever been the champions of the sacred cause. The present, forming the first of the series, contains the celebrated discourse (of the learned and pious Dr. Jeremy Taylor, Bishop of Down and Connor in the time of Charles the First,) on the liberty of prophecying. The tolerant and generous spirit of that good man, in an era when intolerance, and persecution, and gloomy fanaticism were unfortunately too prevalent, cannot fail to endear his memory, and induce those who are unacquainted with his writings to avail themselves of this most cheap and eligible means of procuring them. There is an excellent introductory essay by the Editor, the Rev. R. Cattermole, B.D. The style in which this work is got up is admirable, and yields in no point, either as regards beauty of typography or neatness, to any of its contemporaries. More we shall not say on the subject of this publication at present. We trust that ere long a succeeding volume shall call upon us to resume our Sacred Classics, Vol. I. Jeremy Taylor's Dis. agreeable task. Indeed we deem that course. In this age, when the spirit of education is so widely diffusing its influence through out the civilized world, and the increased facilities of the press affords such rapid and efficient aid in presenting to mankind the labours of the learned and the wise, we have frequently been called upon-no unpleasing task-to bear evidence to the worth of the treasures daily flowing from the press of these countries; but never do we remember having felt more sincere gratification than the sight of the volume now submitted to our inspection has afforded us. Among the various collections of works remarkable for wit, for elegance, for erudition, we have long looked for something more exclusively further commendation would be useless, as we confidently anticipate that this volume will be speedily in the hands of every person possessed of taste and education-every body blessed with the means of procuring it. Sacred Portraiture and Illustrations, with other Poems, by Mrs. John Guinness, Dublin, R, M. Tims, and Wm. Curry, jun, and Co. 1834, The object of the volume before us should disarm criticism, its proceeds being intended for truly charitable purposes; but its merits are such as to enable it to bear the test of examination; and after a careful perusal, we bestow upon it the meed of well-earned applause. There is no subject so difficult to treat poeti cally as Scripture, it must be deeply felt to be efficiently expressed, while its severe and sublime simplicity must be carefully preserved, inasmuch as the ornaments of fancy or high-wrought diction, however admirable elsewhere, are justly interdicted from such ground as the present. Mrs. Guinness seems to have been fully aware of this, and with pre-eminent good taste she has only exercised her imagination where the original theme was such as to admit of the decoration. We are not aware whether she has appeared as an authoress before now; but we trust that such success may attend her present task, at once praiseworthy in its design, and highly creditable in its performance, as may induce her to adhere to her excellent, and we should hope, profitable pursuit. Ella; an Historical Tragedy, in Five Arts. By John Morrison, A. B. T. C. D. Dublin; R. Milliken and Son, Grafton-street. 1834. There is no species of poetic composition, if we except the epic alone, so arduous, as dramatic writing, and more especially tragedy. Perfection in the former is indeed so rare in its occurrence that it has been truly described as "the single wonder of a thousand years." Success in the latter-nay, we would almost say mediocrity-has ever been the lot of comparatively few amongst those who have laboured to achieve it. The present age, with the honourable exception of Mr. Sheridan Knowles, affords perhaps scarce a single example of a great and successful tragic dramatist; and so deeply impressed do we feel with the conviction of the many and serious difficulties that encompass the path, and fetter the spirit of the tragedian, that we are disposed to view with considerable indulgence, at the least, if not with complacency also, even the effort to overcome them. "Est quodam prodire tenus, si non datur ultra." The wing that would essay to soar amid the high and stormy regions of heaven, must be strong of nerve and proud of plume-must belong to no ignoble bird of song. The work at present under our consideration is, in our opinion, strongly confirmatory of these remarks, and while we must confess, upon subjecting it to the rigorous, yet only unerring criterion which we intend to apply, that those difficulties have not been altogether overcome, still do we feel disposed to consider it as affording no discreditable display of poetic talent and dramatic propriety. We must bear in mind that the great. end and aim of tragedy, as well as epic poetry (to which indeed the former is nearly allied,) is two fold: in the first place to excite and call into active operation the various sympathies and passions of which the human breast is so wondrously --so mysteriously susceptible, by true and forcible portraitures of fortitude and weakness, of virtue and vice, and in the second place, to make its plot and whole developement subservient to the illustration of some great moral truth, by exemplifying the diastrous consequences of violent and unrestrained passions in the story which the poet selects for the subject of his performance. In a word, the pathetic and the moral form the two grand and indispensable ingredients in the composition of the tragic drama, and its excellence must primarily and mainly depend upon the ability with which the author is able to treat them. We will now proceed to consider the present work in this twofold point of view, and we regret that we must do so briefly, the space allotted to a notice necessarily precluding us from any lengthened discussion of the subject. As regards the moral, Mr. Morrisson has undoubtedly displayed much judgment and good taste in the selection of his story. It is one replete with deep and moving interest--with bold and adventurous incident-conversant with characters bearing respectively the strong impress of virtue and vice, heroic valour, and savage vengeance, in man--tenderness and constancy no less heroic in woman, and above all, illustrating an event important in the early annals of England, which cannot fail to claim the attention and enlist the sympathies of Britons. Brien Bucart, a noble Saxon earl, having received a deep and irreparable injury in the dishonour of his wife, Editha, by the licentious Osbert, King of Northumberland, has successfully exerted his influence in exciting a portion of that kingdom to revolt, and already procured the election of a rival prince, Ella, over the territories torn from the grasp of Osbert. Ella, however, becomes enamoured of the daughter of his rival, and shews a disposition to compromise his allies and join his ancient foe, for the sake of the beauteous Emma, whose empire over the chieftain her father perceives and encourages. Goaded by the stings of never slumbering vengeance, and still further urged by his injured wife, Brian calls to his aid, Ivan, King of Denmark, who the more readily assists him, as he seeks not only the aggrandizement of his own power, but the gratification of avenging his father's death. After many intermediate events that conduce to the interest of the tale, the hostile armies engage at York, and the Danish forces are victorious. Brien Bucart is mortally wounded; Ella is slain on the battle field; Osbert receives his death wound from Edmund, his own son by Editha, and expires, after having learned the parentage of his destroyer. The faithful and noble Emma, determined not to survive her parent and her lover, falls by her own hand; the wretched source of all this woe, the ill-starred Editha, buries herself within a convent; and Ivan reigns undisputed monarch of Northumberland. So much for the moral or plot of the tragedy; and it is excellent, and evinces the judgment of the author in the selection of it; and we fully agree with him, that if he have not succeeded, it has not been for want of a good subject." We will now proceed to offer a few observations on the second head into which we have divided our discussion; we mean the pathetic, or that which is more particularly addressed to our feelings: and here we would remark, that in tragedy our sympathy must be strongly excited from the first; and though occasionally changed in its direction and object, or varied in its intensity, still kept unceasingly engaged during the whole of the dramatic action, wherever the performance fails in effecting these objects in so far does it fall short of dramatic perfection. In some of these respects, we are constrained to say that our author does not appear to us to have been altogether successful. The character of Editha is one which can never engage our sympathy. The commiseration and tenderness that female misfortune-and misfortune, not crime, is attachable at first to her ever challenges from the heart is repressed and chilled even in the opening scene. Her's is not the spirit bowed down in subdued anguish, in feminine helplessness; but the unrelenting, the stern, the vengeful-in her own words, the murderer of her child. of man, "Stifling a mother's softness, I cast out The fruit of guilt to perish in the waves." The portraiture of Agatha is, we think, much more successful in this point of view, though it seems not to have been conceived with sufficient strength, or as fully developed as it might have been. ment. [March In the depiction of Emma, howand imagination full scope. He has deever, Mr. Morrisson has given his talent lineated the proud spirit of the princely maiden; the ardent, heroic attachment of the woman-true even to the deathwith considerable vigour, taste, and judgOf the male "dramatis personæ," ought to be, the best pourtrayed; and we would pronounce Ella to be, as it accompany him throughout. The introour hopes, fears, and wishes never fail to duction of the ghost of Regnier, we confess, does not please us much; and we did not expect from Mr. Morrisson's talent and discernment such an error in dignity and effect as to make him speak in the sing-song rhyming measure of lullaby. joiced to perceive; the author has not One thing in particular we are redeemed it beneath him to observe a necessary adherence to the unities; and though the servile strictness of the Greek drama is neither congenial nor admissible in the present state of our stage, still we are inclined to think that the laxity which propriety or consistency. The plot is is too prevalent, does not conduce to plain and unencumbered, without much secondary matter; thus contributing to preserve the unity of action. Each act closes, as it should do, with an incident action, while the catastrophe flows natuwhich necessarily makes a pause in the rally from the various characters, incidents, and situations throughout—exhibiting in the whole performance a regular and complete concatenation of cause and effect. partial quotations: they do not always We are, in general, averse to afford gratification to the reader, and rarely do justice to the author from whose writings they are selected: and though the present work abounds with many passages of merit, we shall content ourselves with extracting only one or two. The volume, we feel no doubt, will be in the possession of most of our readers, and enable them to form a more extensive, and therefore a more correct judgment for themselves. In Act II., Scene III., the distempered "'Tis the Seer, my Liege; That time as yet conceals, are shadow'd there |