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he had fallen into the water; nor would he have been more completely over head and

ears at once.

"A man falls in love just as he falls down stairs. It is an accident-perhaps and very probably a misfortune; something which he neither intended, nor foresaw, nor apprehended. But when he runs in love, it is as when he runs in debt: it is done knowingly and intentionally; and very often rashly and foolishly, even if not ridiculously, miserably, and ruinously.

"Marriages that are made up at watering-places are mostly of this running sort; and there may be reason to think that they are even less likely to lead to I will not say happiness, but to a very humble degree of contentment, than those which are a plain business of bargain and sale; for into these latter a certain degree of prudence enters on both sides. But there is a distinction to be made here: the man who is married for mere worldly motives, without a spark of affection on the woman's part, may nevertheless get, in every worldly sense of the word, a good wife; and while English women continue to be what, thank Heaven, they are, he is likely to do so: but when a woman is married for the sake of her fortune, the case is altered, and the chances are five hundred to one that she marries a villain, or at best a scoundrel.

"Falling in love and running in love are both, as every body knows, common enough; and yet less so than what I shall call catching love. Where the love itself is imprudent, that is to say where there is some just prudential cause or impediment why the two parties should not be joined together in holy matrimony, there is generally some degree of culpable imprudence in catching it, because the danger is always to be apprehended, and may in most cases be avoided. But sometimes the circumstances may be such as leave no room for censure, even when there may be most cause for compassion; and under such circumstances our friend - though the remembrance of the burgemeester's daughter was too vivid in his imagination for him ever to run in love, or at that time deliberately to walk into it, as he afterward did-under such circumstances, I say, he took a severe affection of this kind. The story is a melancholy one, and I shall not relate it in this place.

"The rarest, and surely the happiest marriages, are between those who have grown in love. Take the description of such a love in its rise and progress, ye thousands and tens of thousands who have what is called a taste for poetry, take it in the sweet words of one of the sweetest and tenderest of English poets; and if ye doubt upon the strength of my opinion whether Daniel deserves such praise, ask Leigh Hunt, or the laureate, or Wordsworth, or Charles Lamb.

Ah! I remember well (and how can I

But evermore remember well) when first

Our flame began, when scarce we knew what was
The flame we felt; when as we sat and sighed

And looked upon each other, and conceived

Not what we ailed yet something we did ail;

And yet were well, and yet we were not well,
And what was our disease we could not tell.
Then would we kiss, then sigh, then look: and thus

In that first garden of our simpleness

We spent our childhood. But when years began
To reap the fruit of knowledge, ah, how then

Would she with graver looks, with sweet stern brow,
Check my presumption and my forwardness;

Yet still would give me flowers, still would me show
What she would have me, yet not have me know.'

Take also the passage that presently follows this: it alludes to a game which has long been obselete; but some fair reader I doubt not will remember the lines when she dances

next:

And when in sport with other company

Of nymphs and shepherds we have met abroad,
How would she steal a look, and watch mine eye
Which way it went? And when at barley-break
It came unto my turn to rescue ber,
With what an earnest, swift, and nimble pace
Would her affection make her feet to run,
And farther run than to my hand! her race
Had no stop but my bosom, where no end.

And when we were to break again, how late
And loath her trembling hand would part with mine;
And with how slow a pace would she set forth

To meet the encountering party who contends

To attain her, scarce affording him her fingers' ends!"

The London world are agog to find out the author. Blackwood-good authority, in such matters - indicates Southey. But we question the correctness of the

assumption. True, the pure and genuine English, and numerous passages of intrinsic poetic merit, may seem to warrant the conclusion: but then again, the strong sense of the ludicrous - the allusions to Southey himself— the touches of humor - these certainly militate against the alleged paternity. But whoever be the author, he is a rare man. May he write again!

DIDACTICS, SOCIAL, LITERARY, AND POLITICAL. BY ROBERT WALSH. In two vols. Philadelphia: CAREY, LEA AND BLANCHARD.

We have before briefly announced the publication of this work, and refer to it a second time to say, that an attentive perusal has convinced us that it is a valuable donation to the miscellaneous literature of our country, and highly creditable to the head and heart of the author. The style bears evident marks of judicious pruning; there is a much less profound erudition of words, and more alternate strength and polish, than we have been accustomed to meet in the writings of Mr. Walsh. A discriminating care in regard to the means which effect his purposes will, we are sure, be found by the writer to have been advantageously employed. The volumes embrace an extensive range of topic, there being something more than fifty distinct divisions of subject, inculcating various important religious, social, and domestic lessons. In its general scope, the work is undeniably salutary.

We take from an admirable paper on duelling, the following unconsecutive extracts. They are not inapposite at this season, since for weeks past the journals have been deluged with accounts and rumors of duels. One, especially, between men in high places, has furnished a large quota of the 'intelligence of the day.' The parties fought a good hour by Shrewsbury clock; and in truth,

'Sen the Saxonis first come
In schippes over the sea-fome,
Of the yeres that ben for gone,
Greater bataile was never noue.'

It is somewhat surprising, that so few of these man-quelling tourneys terminate fatally. In almost every instance, the parties have separated with whole skins, and in the best possible temper-' satisfaction' — Heaven save the mark! - having been obtained. The truth is, the actors in half the duels that occur are as arrant cowards as ever breathed. They calculate upon the chances of surviving an encounter with as much precision as a black-leg, experienced in cheating, graduates his bet. None but your real bully is ever in haste to send a challenge, or forward in promoting an occasion for that object. But to the extracts:

WHILE these sheets are passing through the press, the public journals furnish a melancholy exception to this remark. A letter from Washington, of 22d June, says: A duel was fought this morning, a short distance from Washington, by two young gentlemen connected with the Navy, viz: JOHN F. SHERBURNE, son of the former Register of the Navy, and DANIEL KEY, son of the prosecuting attorney of our Circuit Court. The latter was shot through the body, and died on the field, and his remains brought to his father's residence, which gave the family the first intimation of the heart-rending catastrophe. Their house presented the most agonizing scene I ever witnessed.' We know how to appreciate such a scene, for we have seen its counterpart-a mother bending in speechless agony of heart over the dead body of an only son, murdered in cool blood, and sisters wringing their hands, and bedewing with fruitless tears the cold cheek of an only brother. Our Philadelphia readers will remember the case to which we refer. The life, however, of a successful duellist, is a curse to himself. His punishment goes with him, in every step he takes in his journey to the grave.

"A moral, sensible, and well bred man

Will not affront me, and no other can.'-Cowper.

"We have uniformly reprobated duelling, and every new case serves to confirm the worst opinion of the custom, and the artificial or spurious honor upon which it is founded.

"The number of its victims in the United States, within the last thirty years, is greater relatively than in any other country, and includes the two foremost and ablest Americans in their several spheres - General Hamilton and Commodore Decatur.

"But the public, or a part of the public, are in fault, almost as heavily as the combatants; men quarrel, stigmatize each other, and then, if they do not fight, contempt is too generally expressed for their forbearance. The moral courage necessary for the refusal of a challenge, or the omission to give one, in such instances, is overcome by the dread of public opinion. There is often a wanton and fatal levity in treating the subject, before-hand; with which the subsequent indignation - though proper in itself, since wilful homicide of the kind must always be criminal- cannot be denied to be widely inconsistent.

"As it is a false, bastard honor that actuates the principals in these cases, it is a false, bastard friendship which prompts the seconds or other assistants, and which they usually allege to justify their misprision of suicide. We find no terms sufficiently energetic for our feelings, wherewith to express our reprobation of those who connive at the criminal intention; who, being apprized of it—no matter in what character, or upon what invocation, or under what injunction - do not at once proclaim it, so that means of baffling it might be employed, and every possible delay interposed.

"In the consideration of the guilt of all parties, we have so far said nothing of the outrage upon heaven:

"Vain man! 'tis Heaven's prerogative

To take what first it deign'd to give,

Thy tributary breath:

In awful expectation placed,

Await thy doom, nor, impious, haste

To pluck from God's right hand his instruments of death.'

"There are several kinds of valor, very distinct. Mere animal courage is common to brutes, and to a large portion of the vulgarest, the most savage or vicious of the human race. The artificial spirit is that which is produced by particular position, necessity, or other combination of peculiar circumstances. Oftentimes, or in most instances, its immediate source is fear; the dread of punishment or disgrace. The celebrated orator - Wyndham-a nice critic of human nature, remarked, that this is the principle of discipline; that discipline is essential to the very life and action of armies, and of course, that 'all the high military merits, whose characteristic is courage, grow, like flowers out of dung, from what is founded in fear.' He carried the doctrine too far; for, love of glory, the sense of duty, the alacrity of emulation, are, perhaps, the chief impulses with the higher officers in the career of arms. But no writer has questioned the theory that the courage of duelling or suicide, is generally artificial, and resolvable into some sort of cowardice. According to high authority, 'the only genuine, comprehensive and invincible courage, is inseparably connected with universal rectitude and religious hope' — that is, moral courage, guided by reason and philanthropy, and looking to the future as well as the present life.

"A duel settles no good point of character-no question of right or wrong: it may avenge an injury and punish a crime, provided the real culprit or wrong-doer be killed or wounded; but the chances are equal, or too generally against, the aggrieved party. The innocent have fallen, at least as often as the guilty.

"An Essay has been published to show that duelling conduces to the preservation of good manners in a community. Upon the same principle, good manners might be more effectually preserved, if it were understood that whoever committed or was supposed to have committed a breach of them, would be forthwith shot through the head. Yet such a custom would be deemed a little savage and sanguinary. In many, or most cases, it is he who violates good manners that is the challenger in duels. Refined education and religious sentiment are the best safeguards in respect to decorum as well as essential probity."

EDITORS' TABLE.

NATIONAL ACADEMY OF DESIGN: ELEVENTH ANNUAL EXHIBITION. - We believe that the two hundred and thirty-seven pictures forming the collection of this year are considered, on the whole, as presenting a greater average of merit than those of any previous exhibition. There are, as usual, some very bad paintings among them as bad as we have any desire to see- but the number is not afflictingly great; and although we have been able to discover few of first-rate excellence, the larger proportion are considerably above mediocrity, and there is decided improvement visible in the productions of the younger artists, or of most of them. Circumstances have delayed our notice until so late in the season that the subject has lost much of its novelty, and of course its interest; we shall therefore deal very briefly with it.

No. 2. View of Niagara Falls. G. MARSIGLIA. This is the best of Mr. Marsiglia's efforts that we have seen. The picture is rather formal, but the perspective is good, and the general tone is rich and mellow. The effect of sunshine upon the fore-ground is well managed. The clouds are stiff and hard.

3. Landscape. W. M. ODDIE. A perfect contrast to No. 2. This is one unnatural mass of green, without light or shade.

7. Landscape view of Cattskill Mountains. G. GRUNEWALD. A new name to our ears. There are very good points in this picture. The distance is well thrown back, and there is freedom in the handling. Mr. Grunewald must guard against the young artist's common error of affectation in attempting what is called the slap-dash style. Better finish carefully.

8. Hastings, England. G. OAKLEY. No relief whatever. 10. Wood Engravings. W. D. REDFIELD. Very clever. shadows well defined.

A flat surface.

Good, clean cutting, and

12. Wood Engravings. J. ALLANSON. Good also. More in the antique style than the last, but full of good workmanship. There is no branch of the art in which we have advanced so rapidly as wood engraving: witness ADAMS's labors in this department.

13. The Fisherman's Landing. J. SHAW. We like this seacoast piece very much. The distance-offing, perhaps it might be called, is excellent; the figures are well drawn and well arranged, and the whole is carefully finished. It is moreover a very pleasing composition.

18. 19. Miniatures. E. D. MARCHANT. Only respectable.

21. 22. Portraits in Water Colors. S. H. GIMBER. Considerable merit. The first is not a good likeness, but the second is. The coloring shows that Mr. Gimber has an eye for tints.

25. Miniature. G. NEWCOMBE. Mr. Newcombe has done better than this. The outlines are hard, and the whole picture wants softening down by stippling.

26. Miniature. H. C. SHUMWAY. This only wants a little less red, to be a good painting. It is stippled rather too fine.

43. 44. Miniatures. T. S. CUMMINGS. Mr. Cummings's specimens this year are decidedly the best, but they are not his best. We much prefer No. 55, called The Bracelet. Nothing can be more perfect than the drapery in this large miniature.

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45. Lake in Switzerland. CoL. COCKBURN. This is but a little thing a slight sketch in water colors - but it is a gem. It is the lake itself, seen through a telescope held with the large end to the eye.

53. Hubert and Arthur. G. W. FLAGG. Considering that Mr. Flagg is but a very young man - we might say a boy-it were to be wished that he would not try his hand so often at original composition, and of such ambitious subjects. He has yet much to learn, and something to unlearn, and might employ his time profitably on copies, and simple studies from nature; yet he insists on turning out five or six great pictures every year, and to confess the truth, we see but little improvement in them. There is merit in the composition of this picture, but very little in the execution. The attitude and expression of Hubert are good; Arthur is common-place, and might have been made a prettier boy, without violating history or Shakspeare. As for the execution, it would do very well for a sign, but wants grace, finish, keeping, and in short almost every thing essential in a picture.

54. Hector dragged by Achilles. H. PURCELL, JR. Many persons would no doubt call this very fine, but it has grievous faults. In the first place, it is all straight lines; hundreds of figures bolt upright, and walls, towers, lances, all standing in exact parallel. There is a perception a sort of idea of merit, in the coloring, but Mr. Purcell is also in love with the slap-dash system, and disdains to finish wherein he errs sadly. 60. Landscape. J. M. TILLEY. One dead mass of bottle-green.

61. Bridge near Albany. J. W. HILL. Well drawn, well colored. A very pretty specimen of water color.

67. Landscape. G. GRUNEWALD. Water colors. It hangs high, and we could not see it very distinctly, but it looks well. Indeed the exhibition is quite rich this year in good little water color landscapes.

69. Group of Children. H. INMAN. Evidently brothers and sisters, from the resemblance. A sweet picture, but out of place in an exhibition. The tone of coloring is too quiet and subdued; it has the appearance of tameness and coldness, arising, however, solely from the propinquity of more showy paintings.

70. Portrait. H. INMAN. A delicious little portrait of a young, blooming girl, full of health, innocence, and animation.

71. Peter Stuyvesant and Van Corlaer. A. B. DURAND. We like this picture very much, and do not like some parts of it. The valiant Anthony himself is admirable; Knickerbocker would recognise him in a moment, could he rise from the grave where he has so long slumbered. The gallant Hard Koppig Piet wants something; either dignity, or the lofty, chivalrous bearing which we cannot but ascribe to him, and which accords with his character, even in the humorous delineation of the Dutch historian. Mr. Durand, as it seems to us, has made him too merely an old soldier; he looks more like a crippled sergeant or corporal, than like the gallant governor Peter.

72. View on the Hudson. J. G. CHAPMAN. Very pretty, and carefully finished. It has Mr. Chapman's usual fault-uniformity of color. This gentleman can seldom persuade himself to employ more than three or four tints on a picture.

75. Toper Asleep. D. HUNTINGTON. Another new name. This little picture has a great deal of merit. The relaxed attitude and besotted face of the snoring drunkard are well conceived and executed.

78. Portrait of a Lady. J. DE JOUGH. Probably the worst painting in the room. Perhaps we shall find one more utterly destitute of merit as we go on, but as yet it stands preeminent. Drawing and coloring, all bad as can be.

79. Portrait of a Lady. C. INGHAM. Exquisitely finished, as are all Mr. Ingham's portraits. Nothing can be more elaborate, or more like nature, (or art, which should it be called?) than the satin drapery. The flesh is less like polished ivory than Mr. Ingham used to make the faces of his portraits, and of course, more like the life. 81. Euchee Billy, a Seminole Chief. S. F. B. MORSE. A small rough sketch VOL. VIII. 15/

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