is not so bad for a white; but you should go to India, if you care about eating-that's the place for cookery, Sir." "I shall have much pleasure in accepting your invitation," replied I, "if you will allow me to run away directly after dinner: I am reading for my degree, and time is precious with me just now." Umph! so it should be always. So you are one of the cap and gown gentlemen, eh?" (Then came an aside: " 'Cap, indeed! it's a fool's cap would fit one half of 'em best.") "Pray may I ask what college you belong to, Mr. -?" "Legh is my name, sir-Legh of Trinity." "Umph, Trinity: just the man I wanted to get hold of. My name's Frampton, Mr. Lee: they know me well at the India House, Sir. When we've had a bit of dinner, and washed this horrid fog out of our throats with a few glasses of wine, I shall be glad to ask you a question or two. Umph!" "Any information it may be in my power to afford you," I began "That'll do, Sir, that'll do," was the reply. "Perhaps you wont be quite so ready, when you hear what it is I want." Then, in an under tone-"Tell me a parcel of lies, most likely: I know how these young scamps hang by one another, and think it high fun to do the governor, as they call it. Umph!" interiors. We have exhibitions of improved domest At the moment we write it is the high carnival tim of Art in the metropolis. There are open four lar Picture Exhibitions, besides the parent Academy; the there are single pictures, and private galleries to b seen for the trouble of application. The Queen's opened her palace for the exhibition of Winterhalters two pictures of Her Majesty and the Royal Family Ex-Minister has invited the representatives of the la cated classes to view his splendid collection: and sooner is a portion of the new Palace of Parliament fire. for the reception of the Peers, than the public are ad mitted by thousands to witness its elaborate beauty a skill. Last month, too, the Art-Union of London d'e length and breadth of the empire; and the dispersion collections of pictures, by sale, is, beyond all precoder extensive; all which is, more or less, an unmistake'sign of the dominion which the love of Art is exereist. over the minds of the people. On our arrival at the Hoop, we were ushered into one of the best sitting-rooms the inn afforded, where a blazing fire soon effaced all traces of the wet-blanketlike fog in which we had been so lately enveloped. I was shown into a comfortable dressing-room, to get ready for dinner, an opportunity of which I availed myself, to render my appearance as unlike what it had been in former days as circumstances would allow, before again subjecting myself to Mr. Frampton's scrutiny. For this purpose, I combed my hair back from my face as far as possible, and brushed my whiskers (antributed some 10,000l. worth of prizes through the acquisition of which I had only lately become possessed) as prominently forward as the growth of the crop permitted. I poked my shirt-collar entirely out of sight, and tied my black neckcloth stiffly up under my chin, and finally buttoned my coat so as to show off the breadth of my shoulders to the greatest advantage. Thus accoutred, and drawing myself up to my full height, I hastened to rejoin Mr. Frampton. My arrangements seemed thoroughly to have answered their purpose, for he gazed at me without evincing the slightest symptom of recognition. He shook me by the hand, however, and thanked me more cordially than he had yet done for the assistance rendered him, and then rang for dinner. The bill of fare embraced all the Asiatic luxuries he had enumerated, to which, on the strength of his having invited a guest, sundry European dishes were added; and with appetites sharpened by our recent adventures, we did full justice to the good cheer that was set before us. THE EXHIBITION OF THE ROYAL ACADEMY. AT no period within our recollection has the position of British Art been so exalted-so full of brilliant promise and performance-as in the present season. The metropolis, the provinces too, are everywhere rife with Art: it is the leading topic of every conversazione, public or private; and "the Exhibition" is no longer alone in its glory in London; but the off-shoots of the Royal Academy are flourishing in every direction, and exhibitions of pictures are to be enjoyed in most of the large towns of the empire. The reported excellence of the present Exhibition the Royal Academy was such as to make us doubt is realisation. However, the opening of the doors Monday, the 3d inst., soon dispelled all doubt on the matter. Last year, an artist in our hearing declar the Exhibition of 1846 to be the best collection that Es been assembled for forty years: then, said an ed brother artist, it is the finest since the institution of t Academy. The general impression is, that the preses Exhibition is, in many respects, superior to that of las year: whilst the master-minds of the Academy their high position in some of the leading picters there is abundance of early achievement as well s promise of talent in other directions: the maturity flourishing, and the youth in full vigour. The gener characteristics are a comparative paucity of portraits: a remarkable absence (with two or three great excepties of historical subjects; and an abundance of refreshing scenes of nature, such as gladden the eye and heart, s enlist the sympathies of every visitor: for, in the la guage of the venerable president, quoted as the epig to the catalogue, "To Nature still we must look, through the productions of the great masters, and consider ese the best works of antiquity but as the telescopes of tas to mend our vision, not to bound our view." ( Elements of Art.) The Exhibition comprises some 700 paintings, in the principal rooms; besides as many drawings and minia tures, architectural subjects, and works in sculptare The influence of this love of Art is evident at every the 1450 productions we can only notice those of les t turn, and it spreads through the pursuits of every-day excellence, as our arrangements will not allow us te life. Our buildings, public and private, are altogether follow the example of some critics, in extending on" of better character than formerly, as regards the archi-notice to the duration of the Exhibition. tecture of their exteriors, and the decoration of their To begin with pictures of the highest class, we m ake Mr. Etty's Joan of Arc, a very large triptic, or storied picture in three compartments, which, with a ow of pictures above and beneath, occupies nearly the ntire side of the east room. This large picture is about hirty feet long by thirty feet high: the first, or left ompartment, represents Joan of Arc, on finding the word she had dreamt of, in the church of St. Catherine le Fierbois, devoting herself and it to the service of od and her country. The centre, or larger compartnent, shows Joan on horseback, making a sortie from he gates of Orleans, upon the enemies of France; and he right-hand division portrays the hapless maiden, fter rendering the most signal services to her prince nd people, suffering martyrdom at the stake. The sad pisode of heroism is wonderfully told the seizure of Mr. Leslie, R.A., has also two scriptural subjectshe sword is powerfully conceived; the grandeur of the Martha and Mary, and The Pharisee and the Publican. ortie, and the devotedness of the heroine, as her charger Both, to our thinking, are poor in composition and allops over the vanquished and slain foe; and the fer- colour. The same artist's Children at Play proves our of the dying heroine;-are all impressive beyond much more attractive: a little girl is playing "the escription. There may be defects of drawing in various lady" of the party, and bears her parasol with the air oints of the composition; but the colouring, especially of an elegante; and two younger children, driven by a f the flesh, is masterly; and there is a barbaric pictu- third, with their pinafores for reins, are "playing at esqueness in the triple scene, which is a startling horses." These incidents are very winning, but the ovelty in British art. The picture has been purchased room is cold and dreary. The children are portraits. or the sum of 2,500 guineas, a sum which we hope may Mr. Harvey, an Edinburgh artist, has a striking picrove an incentive to the aspirants to heroic art. Thoughture-Quitting the Manse, the minister leaving the omewhat out of place, we may here notice Mr. Etty's church after the disruption of 1843. It is cleverly ther contribution-Aglaia, Thalia, and Euphrosyne, painted, though somewhat objectionable in tone and rouped with much of the antique taste, and coloured colour. ith the painter's usual success in such subjects, in hich he is unapproached. The Virgin is watching intensely the effect of "the cross" upon the youthful Saviour, and the expression of her face is truly beautiful. The Christ is by no means so successfully represented. The background of the picture is stated in the catalogue to be painted from a very careful drawing made at Nazareth. Mr. Hart has three pictures: one from Scripture, Righteousness and Peace, two full-length figures kissing each other; the second is Milton's Visit to Galileo in the Prison of the Inquisition, wherein the numerous accessories denote the free thinking astronomer to be far from uncomfortably lodged. Mr. Hart's third picture, Toilet Musings, is a sort of half-character portrait, cleverly painted. Mr. Frost's only contribution, Una, a poetic imperonation from Spenser, is a charming picture: the lovely aiden is surrounded by "faire hamadryades," "lightot naiades," and "satyres," in a "wooddy" scene of eautiful picturesqueness; and the dancing figures in he right-hand distance are the very fascination of paintng. This fine work attracted the admiration of the ueen, on Her Majesty's visit to the Academy; and it s stated to have been purchased for the royal collection. n exquisite composition, drawing and colouring, this icture is, perhaps, unequalled in the present Exhiition. Mr. Maclise's productions are two groups from Moore's Melodies; pretty conceptions of Irish character, ut cold and opaque in colouring. The painter's other Fork is more ambitious-Noah's Sacrifice: the ark esteth on Mount Ararat, the bow is set in the cloud." The passing of the living creatures from the ark is the nost successful portion of the picture; the bow lacks refraction, and prismatic effect; and the figure of Noah is equally unsuccessful. Even setting aside the masterly treatment of the same scene by the older painters, Mr. Maclise's work is poor and unsatisfactory. Here may be noticed a work of small dimensions, but highly artistic character-Neptune assigning to Britannia the Empire of the Sea, a sketch for a fresco to be painted at Osborne House for the Queen. This is Mr. Dyce's only contribution: it is cleverly conceived, and has a Rubens-like glow of colour. It has been purchased by the Marquis of Lansdowne. Mr. Elmore has two pictures. One is from Lord Byron's Beppo, and consists of three figures-Laura, her lover, and the Mussulman: it is a pleasing work, but of no higher mark. The second picture is The Invention of the Stocking-loom: Lee, after his expulsion from college, sitting with his wife, watching her knitting, by which means he conceived the idea of imitating those movements by the stocking-machine. We admire this work as well for the artist's clever treatment as for the national interest of the subject: it proves very attractive in the Exhibition. Lance has two largish fruit pieces, one of which has more composition in it than usual. This is From the Lake just shot: a wild duck, some splendid fruit, a richly chased gold tankard,--all very cleverly grouped, and their gorgeousness relieved by a nicely painted distance the lake." The other picture, From the Garden-just gathered, is some magnificent fruit, Near this picture hangs Mr. Turner's single contri-grouped as it were by Nature, and painted without any bation, The Hero of a Hundred Fights, a sort of alle of the superb accessories of art. Both pictures are full gory of the casting of Mr. Wyatt's colossal statue of of rich colouring and masterly manipulation. "the great Duke;" with more method, and less extravagance, than Mr. Turner has shown of late, but still sadly puzzling to matter-of-fact, unpoetic spectators. The kitchen esculents in the foreground may be set down as ladicrous; but the foundery, on the right, and the statue in the centre, enveloped in one of the painter's wonderful combinations of colour, will disarm some sceptics as to Mr. Turner's genius: he has many strange fancies, but this is not his strangest, by several degrees. Another single picture of mark is Mr. Herbert's Our Saviour subject to his Parents at Nazareth. The scene is out of doors: Joseph is at work as a carpenter, the Virgin is spinning, and the Saviour is entering, bearing a basket; at his feet is a heap of chips, two of which have fallen crosswise: "Perhaps the cross, which chance would oft design The excellence of the English school in landscape is nobly maintained by Stanfield, Roberts, Lee, and Creswick. Stanfield has six pictures-two of them, Naples and Dort, of great brilliancy and finish. On the Zuyder Zee is almost redolent of spray. His largest picture, French Troops fording the Margra, Sarzana and the Carrara Mountains in the distance, is a glorious scene. David Roberts's three pictures are a Spanish Scene, the West Front of Antwerp Cathedral, and Edinburgh: all of characteristic power and beauty. The architectural wonder of Antwerp has its exquisite detail lit up by a splendid sun. Lee's five pictures evince his advance in colouring: A Misty Morning, with Figures, the Watering place, and the Miller's Boat, are charm ing productions. Creswick sparkles in his bubbling streams and sunlit trees: one of his five pictures, the London road a hundred years ago, with a waggon on the hill-top, has a sort of historical interest. Nor must we omit to notice Mole Chabod, North Wales, a charming picture, by T. Danby: the water, hills, and trees, and a large bird, are alike admirably painted; and an unmistakeable testimony to the excellence of this work is, that it has been purchased by a brother artist in the same class, Mr. Creswick. Sidney Cooper has a large Cuypish picture, Among the Cumberland Mountains, with cattle, wonderfully painted. Witherington has three genuine pictures of English rural life-the Mid-day Retreat, Going to Market, and the Village; the latter with the green "The sheltered cot, the cultivated farm, The decent church that tops the neighbouring hill, * * The playful children just let loose from school." The painter has closely followed the poet, and the touches of truthful nature are very delightful at every point. Landseer has two large pictures of great power. The Drive-shooting deer on the pass, has two men in the foreground, one holding back a couple of fine dogs, the other loading his rifle for a second shot; a capital group. The driving deer on the Black Mount, GlenUrchy Forest, the background and distance, are hardly as successful as usual; though the picture requires to be seen in bright weather, and such was not the characteristic of the opening day. Landseer's other contribution, Portrait of Van Amburgh, as he appeared with his Animals at the London Theatres, is a commission from the Duke of Wellington, who wished to have a picture exemplifying the power of the human eye. The lion-tamer, an excellent likeness, stands in the centre in a den, with tigers on one side, lions on the other, iron bars before him, and a whip in his hand, denoting, however, that something more than the power of the eye" enables him to maintain his dominion over the quailing lion and the crouching tiger. The rage of the lions is fearfully depicted, and the characteristics of the two specimens of one genus are admirably preserved. There may, however, be some difference of opinion as to the choice of the subject; and, as we have intimated, it scarcely supports the moral "the power of the eye." "Mr. Humanity Martin" would have protested by way of criticism. In that class of paintings which may be distinguished as domestic or familiar from its illustrating scenes of every-day life, there are several masterly productions. In such works, by the way, history descends from her stilts, and teaches us many fine humanities for rule and conduct; and philosophy is thus blended with the most popular mode of teaching social duties, for it would be difficult to name a more welcome castigator of human failings and follies than the painting moralist. Foremost of these pictures is Mr. Mulready's Burchill offering to assist Sophia in sowing an aftergrowth of hay for the Rev. W. Primrose, the Vicar, we need scarcely add from Goldsmith's fine English story. The incident is capitally told: Burchill and Sophia are most prominent; in the mid distance, the vicar is watching the pair, and in the back-ground, the young folks playing with the hay, is admirable. The composition is admirable; the colouring beautiful; and the finish so high as make the entire work (about eighteen by twenty inches) resemble a first-class work on ivory. It is stated to be a commission from Sir Thomas Baring, and is, in every way, a worthy companion to Mr. Mulready's Choosing the Wedding-gown, in last year's exhibition, and which was purchased by Mr. Sheepshanks, of Rutland Gate, for 1,000 guineas. This munificent patron of art commissioned Mr. Webster to paint the next subject of our notice-A Village Choir, from Washington Irving's Sketch Book: here is cousin Simon leading the band of village amateurs, the deep solemn mouths, and loud ringing mouths, of the country bumpkins: their stolidity contrasts excellently with Simon's ardour, and the variety of expression of the whole band, aiming at one common end, is cleverly preserved; the singing girls in front are beautifully painted, especially the earnest simplicity of one of them. Mr. Redgrave has contributed five pietures of this class, the most important of which is Fashion's Sev -a lady reclining on a couch, and pointing with a scent-bottle in her hand to a clock, denoting that a milliner is behind her time with a dress. The moni is unexceptionable: the poor overworked dress-make. timid and sorrowful, is a touching portrait of a class of sufferers from what is termed high civilization; and the luxurious and thoughtless folly of fashion is admirably personified. It must prove a sad lesson to many a "lady patroness." Another of the social abuses of our day is satired in a picture of one of the follies of the last century-7 South-sea Bubble: or 'Change Alley in 1720, by M. E. M. Ward; the tables with clerks, in the Alley, and the eager strife of churchmen and dissenters, whigs and tories, country gentlemen and brokers, and lady gam blers, as well as the accessories of the locality, make p a work of Hogarthian treatment. Perhaps, the figu are somewhat crowded, and the contrasts are sometimes forced; still, everything contributes to the main stor the famishing boy and the fine lady are an excele juxtaposition. The picture is very attractive to visitors for it has a reflex in the railway mania of our own day and must be a sort of painting lecture to committe-ma and directors. Mr. Frank Stone has a pair of pictures—The Impeyt ing Mate, and Mated, which have been separated in the hanging, although they explain one another-L foreshadowed in a game of chess. In one picture, the swain and the inamorata are seated at a game of ches, the position of the pieces, by the way, is a first-ra problem. There is, however, as much love as chessia the play. In the companion picture, the battle is se tled; the chess-board is put aside, and the wooers telling his love at the feet of the girl. The picture are largish; the scene a sort of gallery open to a gracef landscape; and the costume the best of the last century. The girl is exquisitely beautiful, the young man, per haps, a little too silky. They are painted with very hig finish, and are very charming works. Two large pictures, of a Wilkie-like character, tell the simple joys of rural life, the When, loose to festive joy, the country round Laughs with the loud sincerity of mirth." The first is Mr. Frith's English Merry-making, & hundred years ago, a scene of out-door festivity, of "sunshine holiday and chequered shade,” which : were hard to describe save by the pencil. The secon work to which we have alluded, is Mr. F. Goodas scene, with the same epigraph as Mr. Frith's, catalogue, from Milton's L'Allegro. Mr. Goods scene is at a village ale-house door; the dance in the centre is charming. We have called these pictures Wilkie-like, but it is only in choice of subject and treat ment-not in colouring or finish. There are three r four rising artists in this walk, whose contribution we regret we have not room to individualize. Portraiture is ably sustained in the collection: the works are fewer than usual; and, we think, of superi character, which is a two-fold improvement. Gra takes the lead: he is the Gainsborough of his day. figures and back-grounds, how beautiful; then for his horses, only look at No. 127: his three-quarter portrai of Hon. Mrs. Wortley is, perhaps, his finest picture his portraits of Lady Dalmeny and Mr. Sidney Herbert too, are capital. Mr. Watson Gordon's portraits are in another style of excellence: his whole-length e Principal Lee is admirable. Knight has but two pertraits-Mr. Bright, M.P., a whole-length; and Holman, the Blind Traveller, half-length; the head of the lat ter is surely too large. Of Pickersgill's eight portraits, the best, as well as the most interesting, is a three quarter of Mr. Hallam, the historian. Mrs. Carpenters "Mother and Child" are excellently painted; and s large full-length portrait, by an amateur, is remarkably finished. We miss Linnell's masterly portraiture; he has but three works here, and one only a portrait, a lady, admirably painted. The drawings and miniatures include some fine productions. Richmond and Chalon take the lead in the former; and Sir W. Ross and Thorburn in the latter. Carrick, too, has some fine portraits; and there is a curious pen-and-ink presentment of Jenny Lind, by Minasi, a venerable artist lately rescued from blindness and poverty. The "Architecture" room contains but few drawings of that class; never do we remember so little castle-inthe-air-building as this season. The Sculpture Room has a few poetical groups, over and above the average of busts. Marshall's First Step, a child learning to run alone,) and Mac Dowell's Early Sorrow, (a maiden unconventional,) struck us as among the best specimens. A small marble bust of the Prince of Wales, executed for the Queen, by Mrs. Thoneycroft, s a clever performance. In this glance at the entire exhibition, limited to a ew columns, it is impossible to do justice to all the accessful aspirants to academic honours, who, we ejoice to say, are very numerous. At parting, we may mention that Mr. Etty's large riple picture, (Joan of Arc,) which certainly has not is usual finish, will, at the close of the exhibition, reeive "more work;" it will then be a magnificent specimen of heroic painting. We may notice, by the way, the objection by some, that in the sortie Joan is 1ot sufficiently excited: this is intentional on the part f the artist, and is intended to convey the idea of Joan's inspiration, and not the expression of those assions which actuate more ordinary characters: her superior power is told in the serenity of self-possession. THE GREAT KING'S DAUGHTER. THERE was a great king who reigned at Rome, who had one son and four daughters. The son, Candidus, was fair, wise, bold and courteous. His daughters were Justice, Truth, Mercy and Peace. The two elder were of commanding forms and severe features, the two younger of slight stature and mild countenances. Desirous of finding a suitable bride for his heir, the great king searched frequently among the regal families, until he chose the daughter of the king of Jerusalem, whose beauty was the theme of every writer at her father's court. With great pomp the young princess was brought to Rome, and the wedding celebrated amid the joyous admiration of the people, and the hearty congratulations of the great king and his family. For a time all went well, and the young prince rejoiced daily more and more in the beauty of his young wife. But the tempter was nigh at hand, and the peace of the prince was soon blasted. A noble, the confidential servant of the great king, a man of many and fair words, and wherewithal crafty, seduced the young mind of the princess, and led her away by flattery from the prince her husband. The infidelity of the princess became at length known to Candidus and to the great king his father, and the punishment of the law was awarded upon the faithless princess. Publicly divorced from her husband, and repudiated from him with the loss of every honour, she soon reaped the bitter fruits of her sin. Neglected and deserted by the noble who had led her to sin, she wandered from place to place, begging her bread, and praying for death as a deliverance from her abject misery. The heart of the young prince was torn with conflicting emotions, anger at the ingratitude of his wife, and yet love, fervent love for her in despite of her infidelity, and pity for her many sorrows. At last his love and pity overcame his anger, and he sent some of his nobles to seek for her, and recall her to his father's court. Readily did the nobles hasten on their mission, for the princess was greatly beloved. "Lady," said they, when they found the princess in a far distant country, nearly worn out with hunger, fatigue, and sorrow" Lady, return in perfect safety; thy lord the prince calls thee back to him; fear nothing," "Great and mighty lords," meekly rejoined the princess," tell my lord the prince, that right willingly would I obey his commands were I able so to do." 66 Unable,,Lady! are we not here to convey thee back to our lord, thy prince?" "Know ye not the imperial law; if a man marry and his wife prove unfaithful, he shall give her a writing of divorce; and from that day is she no longer his wife?" "Truly, it is as you say, Lady?" "Know ye not that to me such a writing was given, for that I was unfaithful to my lord the prince. How can I then return unto my lord?" "Is not our lord greater than the law which he has made himself? Since, then, he is disposed to forget and pardon; return in peace, secure from punishment or reproach." "How shall I know that his wishes are such? If my lord would assure me of it, would deign to come and kiss me with the kiss of his lips, then should I be sure of his favour." Firm in her determination, the nobles brought back the heavy tidings to the prince. Then he called together his wise men, and sought out from among them one that would go and persuade the princess to return. One by one the sages refused the task, and the prince could only send again his former nobles. 66 Lady," said they, "thus saith the prince, What can I do for you, there is not a man in my dominions that will execute my wishes." Sorely wept the princess, but she feared to return, because the law was strict, and the great king was just though merciful. Then went the prince in before his father and bowed before him, and prayed a favour. And when the great king had raised him up and kissed his right cheek, he said, "Speak, my son, and let thy wishes be known unto thy father." 66 Father, my love for my erring wife compels me to reseck her society. Twice have I sent to her to persuade her to return, but she fears the imperial law, and refuses to come back, unless assured by me that she may return in peace and security." "Go, then, my son, in thy might, and reinstate the penitent in the seat from which she has fallen; and you, great and mighty lords, go before our son, and tell the princess how he comes to recal her without punishment and without reproach." 'Father and great king," interposed Justice, "art thou just, and is thy judgment righteous? Is it fit that she who was once unfaithful should again be our brother's wife, the partner of his future throne. You sanctioned the writing of divorce; to the law, therefore, let her appeal. One such violation of justice forbids my being any longer accounted your child." 66 'My father," said Truth, who stood by the great king, our sister has spoken truly. You have adjudged this woman to be faithless to our brother. If you permit her now to return, what do you but destroy the very essence of Truth, and prevent me too from fulfilling any more the offices of your daughter." 66 Nay, father," interposed Mercy, am not I also thy child, and wilt thou abandon Mercy? Forgive, then, the offence of this penitent woman, else never more can I acknowledge thee as my father." Peace, too, would have spoken for the penitent; but when she saw that there was discord between her father and his daughters, she fled to a far-off place. Justice and Truth, however, swerved not from their purpose, and hastened to place in their father's hand a naked sword. "Father and great king," said they, "we present you with the sword of Justice. Take it, and strike the faithless woman who hath wronged our brother." "Enough, father, enough," exclaimed Mercy, rushing forward and snatching the weapon from their hands. Long have you reigned, and your inclinations been our father's law. Now forbear: is it not fit that my wishes should sometimes be listened to? Am not I also the king's daughter?" "Truly hast thou spoken, sister," rejoined Justice; "long have we reigned. Yea, and long will we preserve our authority: but come, let us call back our brother, who is wiser than us all, and let him be our judge." Then Candidus, who had been hastening the needful preparations for his departure, returned to the king's apartment, and heard how Justice and Truth demanded the infliction of the law, whilst Mercy and Peace advocated a free forgiveness. 66 My beloved sisters," said Candidus, "the flight of our sister Peace, whom your miserable shifts has driven away, little satisfies. This ought not to be and shall not. As for my faithless wife, I am prepared to undergo her punishment myself." "If this be your determination, oh my brother," said Justice, we cannot oppose you." use Sister," said the prince, turning to Mercy, your endeavour to restore my hapless wife. But, should I receive her and she again falls into sin, do you design to renew your intercession?" "Yes, brother, again and again, if she be but penitent." Then the prince conducted back his sister Peace, and caused each of the others to embrace her in turn: and when concord was thus restored, he set out in search of his penitent wife, and brought her back with every honour, ALLAN CUNNINGHAM'S POEMS. THIS little volume consists of the poetry of a man who was in every way worthy of following in the footsteps of the immortal Burns. Sir Walter Scott-Scotland's high priest in the regions of historical romance, himself a poet, and an excellent critic of poetry-was one of the first to recognise the genius of Allan Cunningham, and his discrimination, assisted by the zealous enthusiasm of the Ettrick Shepherd, brought the humble-minded sculptor into public notice. It is speaking in language higher than all words of praise to say, that there are some verses in this book which Burns himself might have written. To those who love the sweet phrases, and soft and harmonious utterances, of true Scottish song, the lyrics will prove treasures indeed--household beauties, to be sung and listened to through many a summer's day. The collection is divided into three parts; the first containing the imitations of the old ballad Jacobite reliques. These ballads were published in 1810, and brought out by Cromek as veritable remains of Nithsdale and Galloway song. "Short-sighted man,"-" Bonnie Lady Anne,""It's hame and it's hame," -"She's gane to dwall in Heaven," and "Thou hast sworn," are conceived in a spirit of the most poetical fervour. "The Return of Spring" is a lovely composition. "Cauld Winter is awa', my love, The breath o' heaven stirs a' to life- The birds canna contain themsels What says the sangster rose-linnet? The lav'rock calls his freckled mate, Come, make on the knowe our nest, my love,- The verses which follow, and conclude the song, are equally good, and will remind the reader of the "Stre Spring," a song written by Burns for Johnson's " Münte Museum;" and one of his most charming lyrics. "The Mermaid of Galloway," we regret, is too lot. for our columns, and to quote a line of it in any way would be a sorry mutilation. It is a romantic legt! garbed in a dress of the choicest poetry, The Second Part consists of Poems and Miscellane Pieces. Listen to the "Poet's Invitation : " 66 "My youngest, fairest, come; For not the sunshine following showers, Nor moonlight to the fairy, The sea-pieces are enough to rouse the blood of all to 'English gentlemen who live at home at ease." The is a daring vaunt in them which will find an echo in . and best mistress. But more to our taste is the "Foc heart of many a sailor who loves the sea as his dears Bridal-day song." There is a tenderness and beauty this which makes itself felt and understood in a mone The Third Part is made up of Songs. The very fin has music in it. It is to be hoped that it may finds one among our living composers who will marry it ! melody worthy of its vigour. "A wet sheet and a flowing sea, There's tempest in yon horned moon, The wind is piping loud, my boys, While the hollow oak our palace is, No description of a poet's ladye-love can exceed simplicity and natural grace the lines that occur in Know ye the fair one." Here is real poetry Her lips are like the red rosebud, "The Broken Heart of Annie" is a fair specime the earnest force of a man who writes with the feellas genuine and inherent in a lover of the beautiful Culina flowers alike in ladye's garden or on heathery moor, poct is ever true and faithful to his vocation; he his lyre to resonance with the fond emotions that gal den his inmost heart, regardless whether the ey floats along the delicate perceptions of his brain, cat from tones that swell in lordly hall, or wander fr |