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character. In all things, while he deeply reverenced principles, he chose to deal with the conerete rather than with abstractions. He studied men rather than man."

We cull the following sentences from different papers, &c., by this young man, as sufficient to show that he was no ordinary thinker :

"I do not hesitate to express my conviction that the spirit of the critical pbilosophy, as seen by its fruits in all the ramifications of art, literature, and morality, is as much more dangerous than the spirit of mechanical philosophy, as it is fairer in appearance, and more capable of alliance with our natural feelings of enthusiasm and delight."

"Revelation is a voluntary approximation of the Infinite Being to the ways and thoughts of fipite humanity."

* The work of intellect is posterior to the work of feeling. The latter lies at the foundation of the man; it is his proper self--the peculiar thing which characterizes bim as an individual. No two men are alike in feeling; but conceptions of the understanding, when distinct, are precisely similar in all-the ascertained relations of truths are the common property of the race."

“There exists in the doctrine of the Cross a peculiar and inexhaustible treasure for the affectionate feelings."

“Pain is the deepest thing we have in our nature, and union through pain has always seemed mere real and more holy than any other."

“Dark, dark, yea, 'irrevocably dark,'

Is the soul's eye; yet bow it strives and battles
Through the impenetrable gloom to fix
That master-light-- the secret truth of things-

Which is the body of the Infinite God!" Those who read the “Remains of Arthur H. Hallam " must read them as the folded annals of a youth; and if they do so, they will feel somewhat of the irrepressible charm by which he knit himself to many hearts, and learn the greatness of a good life.

Collected Papers (Original and Reprinted). In Prose and Verse.

1842-1862. By Mrs. Grote. London: John Murray. Mrs. GROTE, the wife of the banker-historian, who has written so profoundly of “Greece," is a woman of no ordinary grasp of mind or culture of intellect. In her "Memoir of Ary Scheffer,” her sympathy with and taste for art, and her activity in and knowledge of political circles were made public. But few could have guessed that a review of Thomas Moore's Life and Works," in No. 111 of the Edinburgh Review, was from the pen of a woman; or that many of the best papers in the Spectator, dated from "the Hamlet of East Burnham, Co. Bucks," the history of which is here carefully, racily, though somewhat exasperatedly written. “On Art Ancient and Modern," one could easily expect a lady of birth, breeding, talent, tation and wealth, to discourse as pleasingly as in the paper reprinted here from the Victoria Regia ; but we could scarcely have credited one with the authorship of the "Essay on the Rural Economy of England” (which is stated to have been a rejected communication), or with “ The Case of the Poor against the Rich fairly stated”-in which, however, the statement does not appear to us to be astonishingly fair, though it does contain some harsh truth and some correct accusations. It is decidedly the most “outspoken" utter. ance by a woman on “the population question” we have seen, and the views taken in it of the relation of capital and poor-rates are really deserving of consideration-for she speaks out what others are contented to whisper in their own circles. The “poetical pieces" contained in the volume are not vers de société, but decided, thoughtful, and poetical, though not the work of an experte at versification. Yet the authoress is by no means that essentially vulgar thing-whether in high or low life-"a strong-minded woman" in the ordinary sense of the epithet; but she is strong-minded in the good and true sense of being an observant, thoughtful, reasoning, well-informed, studious woman,-one who thinks that life has higher duties for her sex than dress and luxury, parade and company, maternity and nursing, directing Dorcas societies, and twirling about, a blaze of jewellery and tissue, at country balls or in city assemblies. The contents of this volume are sufficient to prove that Mrs. Grote has reflected deeply on many of the items of the “ Condition of England Question;" and if it be true that the ideas of a well-informed lady on any subject must be interesting, this book possesses interest of no common kind; for the lady-author has had facilities for knowing the opinions entertained by her class regarding the other classes more than many.

The Spectator articles on French-politics, the situation of France in 1851, the [Crimean] war from an unpopular point of view, are really singularly condensed, spirited, and able papers. The latter, especially now that the Kinglake's book has roused the nation's thought upon the subject, may be held a good foresighted article. Comparing the “Glance at Modern Europe," in 1850, here given, one is astonished to find how little real progress has been made, how little real change, between that date and 1863, notwithstanding the great trials Europe has endured to bring about a change for the better. Civilization is a plant of slow growth. The defensive “Character of the Rev. Sydney Smith," and the notice of the “ citizen peer,” Lord Overstone, cannot be read without interest; while the sketches of English scenery, rural rambles, and social life are replete with acute observation, judicious labours, and reference to such general principles as show thoughtfulness, intel. ligence, and cultivation..

We look, indeed, upon the work noticed as one of the truest indexes of the state of our times, when ladies, forsaking the production of sensation and sentimental novels, attach themselves to the working out of an intellectual reformation and a moral renovation of society; and find it compatible with the sternest decorum and the most refined society to think of their neighbours, and the part each one should bear in the progress of humanity.

We subjoin the following extracts both as specimens, and for their separate interest :

" In the varied flow of his conversational powers, the point of his playful satire, and the force and vivacity of his illustrations, few, if any, have ever approached him: added to these, there was a natural buoyancy of temper, and genial aptitude for mirth, and for the enjoyment of society, which had so exhilarating an effect on those around him, that no one ever felt reluctant to be made the subject of his pleasantry. His attacks were indeed like summer lightning-they never harmed the object illamined by their flash. But not in the convivial hour alone was Sydney Smith qualifie i to bear a leading part. In temperate and philosophic discussion-on topics embracing the substantial interests of the human race, on ethical questions-he was luminous in his remarks, large and liberal-minded, and even patient of contradiction. In fact, he had read much, and always with the sincerest desire to arrive at truth; and if he lacked that quality of intellect which is capable of imparting original views on profound subjects, no man was ever more successful in possessing himself of the results of other men's thoughts, and in diffusing them in a form suited to the apprehension of ordinary readers. When in good spirits, the exuberance of his fancy showed itself in the most fantastic images and most ingenious absurdities, till his hearers and himself were at times fatigued with the merriment they excited. He had the art, too, of divesting personalities of vulgarity; and not unfrequently was the luckless victim seen to enjoy the exercise of it quite as much as others. In fact, many persone rather felt it as a compliment when Sydney singled them out for sport. And he was so universal in his sympathies, that he did not require a select or distinguished circle in order to be incited to display. His rich resources flowed so freely forth, that I have heard some of his happiest inspirations uttered to persons of comparatively hamble pretensions, eitber to intelligence or fashion. The presence of men or women--so they were but of the educated class-always unlocked his sympathies, and he expanded without difficulty as without vanity. Not that he was insensible to the value of choice society; none knew better how to prize and enjoy it. But he had such a store of kindly benevolence in his heart, that he liked to contribute to the happiness of whomsoever be found himself in company with."

“LINES TO JENNY LIND-GOLDSCHMIDT.
“ WITH A MEDALLION PORTRAIT OF THORWALDSES.
“Bebold the impress of a noble mind,
Genius and native worth in thee combined.
Thorwaldsen! master of creative art,
A name embalmed in Scandinavia's heart,
I place tbine image in a sister's hand,

For art makes brotherhood in every land.
“Great powers both thou and she have wedded here,

And both bave aimed in their peculiar sphere
To elevate the soul and lift the eyes
Of mortals to a world beyond the skies.
Well may thy lineaments her home adorn,
Who, like thyself, to high distinction borne,
Now tustes the sweets of freedom and of rest,

By love and by approving conscience blest. “ Hay, 1859."

The Art and Practioal Application of Arithmetic. By John and

THOMAS FLINT. New edition. Glasgow: D. Robertson. London: Houlston and Wright.

SOME ten years ago, the authors of this text-book of practical arithmetic were known in the great commercial city of Glasgow as among the most efficient trainers of young persons for the countinghouse, the dockyard, the revenue offices, and the management of business generally, in it. In the very centre of trade, where the multiplication table is at least in as constant practice as the decalogue, and the power of " turning it to account” is truly a money-power, they succeeded in impressing the commercial public with the value of the tuition they imparted, and their pupils required little more to gain an entrance into commercial life than the statement that they had studied under the Messrs. Flint. They at that time used a text-book for their own classes, but it was not then published. As a particular favour, the writer of the present notice received a copy of that work, with a key to it; and during the intervening years he has employed the book as a precious help in actual arithmetical training with indubitable success. Distant as we were from the place of their labours, we heard with deep regret of the death of Thomas Flint" in a far country," and had learned that his surviving brother, after having furnished Glasgow with thousands of men of business, had added himself to the list, and bad "won his spurs" in his new vocation. Having left the professional ranks, of which he was long a valued member, this work, containing an exposition of and a guide to the art of arithmetic, has been issued. It is strictly philosophical in its structure and method. It proceeds in the most persistently “step after step" manner. No gap, slip, or leap is observable. It is as firmly compacted as “linked armour." Simplicity, informing plainness, methodical gradation, fulness without overcrowding, and sufficiency without superabundance, distinguish every page. In this “new edition " there are many additions, improvements, and extensions. Its processes and calculations have been thoroughly verified by the actual working of the sums by multitudes of pupils. We think that those who go through a course of commercial arithmetic upon this system will find their life made easy in business by its use.

Answers to all the questions are contained in “ The Key."

The Poetical Works of Thomas Aird. London and Edinburgh:

Blackwood and Son. Taar a fourth edition of these poems have been called for by the public is a sign, we think, of good sense and right feeling among readers of poetry. They are the carefully distilled essence of the poet's life. Every idea has been tested in the crucible of conscience; every thought has been stamped, at first band, in imagination's finest moulds ; every word has been tried by the most delicately acute perception of fitness, and the rhythm is always twin to the thought. Dante's fierce and passionate literality, outleaping into the ideal, Shelley's grace and tenderness, Crabbe's humble realism, Tennyson's sinuous variability, Cowper's religiousness, and Burns' pathos of the heart, fused into oneness might give some faint adumbration of Aird's genius. It is neither hero-worship nor friendship that makes us say 80—though towards the author we feel both modes of reverence. It is a conviction that has grown into us. Aird's earliest volume of poems was issued in our own birth-year, when he himself was nearly twenty-four years old, and we did not read his works till they were collected in 1848, though our friend Alexander Whitelaw had quoted a few pieces in the “Republic of Letters," where we had perused them with gladness when we were in the poetry-loving mood of twenty. In our student days we first rightly read Aird's poems, and we have since treasured them as sabbath sunlight. When a third edition was issued in 1856, we expressed our delight in these pages, and we are glad to see the ratio of years growing less which absorbs an edition. Though slow of growth, Aird's fame is "a plant of renown.”

The matter of the former volume has been carefully revised, and the master-touches of the author's hand appear in many slight but much-meaninged changes. It is quite a lesson in philosophio speech to trace out the exquisite definiteness thus given to many phrases, and the manner in which the very shades of differing ideas are thus made palpable. Several short pieces have been added to these fruits from the tree of the poet's life. Aird has exerted a moulding influence on many minds, and we mistake much, if we are to have a new school of poetry at all, if Aird will not be regarded as the natural leader of the poets who shall build up the lofty rhyme of the future. He possesses a quality rare among minds of any age, rarest in ours-individuality. Writing in the era of Byron, Coleridge, Southey, Wordsworth, Hunt, Landor, Scott, Hogg, &c., he has yet kept himself free from the mannerism of any of them, and has never stooped to cater for public applause by any overt act of yielding to the demand of the time. No man of this age has been more independently and truly himself, or has made a more reverent use of his genius than this poet. He is no mannerist, but has a fresh, healthy, organic vitality, out of which there grows poetry as naturally and variedly as the results of the labours of

"Beauty in the dewy dells,
Moulding of light her flowery bells,

Songs of wheat and purple glee."
He is, withal, a true Christian poet, one who can-

"Every point and every tip

In the blood of Jesus dip." We have no fear but that these harvestings of his soul will find garners in many hearts, not only now, but many days hence.

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