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There should they bring me still their No-Do-no.-It must not shall griefs and joys,

not be. Buried in your own grounds ! And hear in the swell'd breeze a little No--no-no! It is too far from town answering noise.

—and the Wuster-Heavy would be Had I renown enough, I'd choose to lie, perpètually overloaded with pilgrims As Hafiz did, bright in the public eye, seeking the shrine where thou wert With marble grace enclosed, and a green laid. We insist on your submitting to shade,

a public funeral, and in WESTMINAnd young and old should read me, and

STER ABBEY. be glad.”

TICKLER. After all, we must succumb, ODoherty. North is North. He is our master in all things, and above all in good humour.

ODOHERTY. An admirable lecture indeed. Put round the bottles, and I shall repay Great Christopher with a chaunt.

OMNES.

Do-dodo.

ODOHERTY (sings).

The Tories--a National Melody.

1.
'Tis with joy and exultation I look round about this nation,

And contemplate the sum of her glories ;
- You must share in my delight, for whoever is is right

Oh! the prime ones are everywhere Tories.
Start whatever game ye please, you'll be satisfied in these-

The just pride of the Island reposes
Whigs in ambushes may chaff, but the Tories have the laugh
When it comes to the counting of noses,

Dear boys!
When it comes to the counting of noses.

2.
Can the gentlemen of Brookes' shew a nose, now, like the Duke's,

Who squabash'd every Marshal of Boney's;
And at last laid Boney's self on yon snug outlandish shelf,

Just with three or four rips for his cronies?
When the Hollands and the Greys see the garniture of bays

Nodding o'er this invincible Tory,
Can they give the thing the by-go, by directing us to Vigo,
And parading their Corporal's story?

Poor Bob !
Their negotiating Corporal's story!

3.
'Tis the same way in the law :- In the Chancellor's big paw,

What are all these Whig-praters but rushes ?
With one knitting of his brows every whelp of them he cows

With one sneer all their Balaam he crushes.
They goi silkers from the Queen ; but in ragged bombazeen

They must all be contented to jaw, now.
Hence, the Virulence that wags twenty, clappers at “ Old Bags,”
And behind his back calls him “ Bashaw” now-

Poor dears!
They behind his back call him “ Bashaw” now!

4.
Stout Sir Walter in Belles Lettres has, I'm bold to say, no betters;

Even the base Buff-and-Blue don't deny this,
Why?-Because their master, Constable, would be packing off for Dun-

stable,
The first pup of the pack that durst try this.

“ You shan't breakfast, dine, nor sup” ties their ugly muzzles up

From the venture of such a vagary;
But a sulky undergrowl marks the malice of the foul,
And we see and enjoy their quandary,

Poor curs !
We all see and enjoy their quandary.

5. Thus, in Letters, Law, and Arms, we exhibit peerless charms;

We in Parliament equally triumph-
When to Canning we but point, Brougham's nose jumpeth out of joint,

And Sir Jammy Macgerald must cry“ humph !
Then we've Peel, too, and we've Croker, who uprais’d the “ holy poker,”.

O'er thy crockery lately, Joe Hume!
'Neath our eloquence and wit, Duck-in-thunder-like they sit,
And await the completion of doom-

Poor things! They await the completion of doom.

6. We've the President to paint-we've the Wilberforce for Saint

And our sculptors are Flaxman and Chantry! On the stage we've Young and Terry-ay, and Liston the arch-merry,

And great Kitchener chaunts in our pantry!'Mong the heroes of the wing, we've a Jackson and a Spring

We've a Bull to gore all the Whig news-folkAmong preachers we've a Philpotts-an ODoherty 'mong swill-potsAnd Saul Rothschild to tower o'er the Jews-folk,

Dear boys! Baron Rothschild to tower o'er the Jews-folk.

7.
What Review can Whig-sty furnish, but is sure to lose its burnish

When our Quarterly's splendours we hang up?-
Or what Magazine's to mention, of the slenderest pretension,

Beside CHRISTOPHER's princely prime-bang-up?
There's but ONE besides in Britain, I consider 'twould be fitting

To name after and over that rare man,
'Tis the Tory on the throne for his heart is all our own,
And 'tis this keeps their elbows so bare, man,

Poor souls ! Their hearts low, and their breeches so bare, man !

8.
Oh! with joy and exultation we look round about the nation,

And coạtemplate the sum of her glories.
Oh ! how just is our delight! Oh! whoever is is right,

Oh! the prime ones are everywhere Tories!
Look whatever way you please, 'tis in these, and only these, .

All the pride of the Island reposes
We've the corn and they've the chaff,--they've the scorn and we've the

laugh, They've the nettles and ours are the roses,

Dear boys! They've the nettles and we have the roses.

Printed by James Bullantyne and Cu. Edinburgh.

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* The place where we met was a deep glen, the scroggy sides whereof were as if rocks, and trees, and brambles, with here and there a yellow primrose, and a blue hyacinth between, had been thrown by some wild architect into many a difficult and fantastical form."-RixgAX GILHAIZE, Vol. III. p. 222.

To artists, "the metaphysic" has dogmatical, (dealers in taste are genebeen a downright Will-o'-the-wisp— rally so,) and not explanatory. Their “an ignis fatuus, or wild fire."-It has gusto is, as it were, “ Evangelical.” led them only into bogs. I pass by They “ preach up” something; and musicians, as a hopeless, not to say if you ask why, they answer (God disagreeable, subject; but what artist wot) by an appeal to their feelings, of any description has not been delu- that it is so and so-and there the matded by what he (God save the mark !) ter ends. This is the way fiddlers use called “ abstract reasoning ?” “ The you, when you are rash enough to be nonsense of the stone ideal,” has spoil- sceptical as to the merits of some noise ed all the sculptors, time immemorial. of an overture, or labyrinth of a caThe single word “ classical" has de- dence, and then, like many other polestroyed its thousands and ten thou- micals, conclude by getting into a passands. How many acres of canvass have sion. But to the subject. Let any one been barbarously ruined by "effect!" read Knight, and Burke, and Gilpin, How many poets have broken their “and the rest,' as Barry Cornwall backs in straining after “ dignity" and would say, and then honestly confess the “ heroic, according to Aristotle !". whether he knows more than he did If Parliament were to pass a law to before of the meaning of the words cause these terms to be proscribed and Picturesque and Beautiful, as used by forgotten, like the name of him “who artists. I mean the fundamental meanfired the Ephesian dome,” it would be ing; the just principle ; the reason a public benefit. The word “ Pic- wherefore.It is not to tell us that turesque" seems chiefly to have sin- “this is picturesque, but not beautined, in being the cause of manifold ful," and that “this is beautiful, but bulky volumes coming into existence, not picturesque.” It is not to inform us, which, so far as concerns the explana- that each of these two things gives tion of the subject, whereof they pro- pleasure to the mind in a different way, fess to treat, might as well never have and in a greater or less degree,-it is been written. The books on this sub- not this that can satisfy us. It is the ject are made up of assertions; asser- naked principle upon which the mind tions just enough, perhaps; but still acts, and by which it is acted upon, forming only a string of truisms in when it receives this pleasure, that we the disguise of an inquiry. They are want to know and of this we are told VOL. XIV.

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nothing. We do not deny the facts; steries, ill-grown trees, twisted shrubs, but the “ quamobrem” and the“ quo- coarse grass, withered leaves, old womodo” are still wanting. Yet the Pic- men, broken pots, hoopless casks, trodturesque and Beautiful have always den-down corn, Shetland ponies, starappeared to me to be capable of being ved Jackasses, with masters resolved into two very simple princi- ragged than Lazarus in the painted ples. The treatises expressly on the cloth !" A painter, like the owl in the subject, however, stop short at effects, fable, loves Sultan Mahmoud, because without almost the slightest attempt he can give him “ fifty ruined vilto evolve causes; and if I had not lages.” Now this cannot be all whim been pleased with our friend Galt's and caprice. Whole bodies of men Ringan Gilhaize on any other score, would not thus run mad." north, I must have been delighted to find it north-west” for nothing.

“ There contain a passage, which, by the pecu- must be reason for it, if philosophy liar position of a single word, affords could find it out." me at once a motto for my sheet, and It seems to be a universal law of our a key to my principle. The peculiar nature, that we attain to pleasurable adjective is marked by italics. Its sin- feelings through two opposite media. gular application in this striking pas- There is the excitement of unusual sage has probably produced a feeling exertion, mental or corporeal, or both of embarrassment and uncertainty in mixed ; and there is the pleasure of many readers. To explain its fitness unexpected ease or quiescence. The in this place-to shew how this single first should appear to consist in the term may be said to contain the mar- delight of overcoming a more than orrow of the Picturesque, is the “for- dinary difficulty; the last in finding lorn hope” of the following remarks. less difficulty than ordinary to over

If any one be at the trouble to con- come. This is applicable, more or less, sult the many wire-drawn and desul- in some shape or other, to every detory treatises which have been put scription, probably, of mental and corforth “ about and about” the Pictu. poreal action. Thus we take pleasure resque and Beautiful, he will find, I in ascending a mountain or climbing a believe, that they all end, after many rock from the difficulty overcome; and a weary catalogue of things which are, in skaiting, riding, or sailing, from the or are not, picturesque or beautiful, in unusual ease with which we move. In laying down as a sort of general rule, reading, we are pleased with subtle that picturesque objects are rough, argumentation, acute logic, or probeautiful ones smooth. Dilapidated found analysis, from the first principle, buildings, intermingling trees, per- that of difficulty overcome; but with turbed waters, are, say they, pictu- smooth poetry, or easy and familiar resque. Glassy lakes, regular architec- prose, from the unexpected quickness ture, smooth hills, and shaven lawns, with which the mind is led forward. are beautiful. Good—but why are we The pleasure of riddles contrasted with delighted with these things in such that derived from those rhymes that opposite and unaccountable ways ? are used as a “ memoria technica," or Why do we call a regularly built pa- artificial memory, is an instance in lace beautiful, and yet not tolerate it point; and of the same description is in a picture (or scarcely so) until it the pleasure received from hearing or has tumbled down, and is overgrown playing difficult and complicated muwith ivy, and choked up with weeds sic, compared with that which arises and brushwood ? Discuss unto me, from a flowing and simple air. It is good Book-maker, what is the cause of needless to inultiply examples. The all this apparent contradiction. I know general principle must, I think, be adwell enough it is no joke to call the mitted to be true. Whether it may Picturesque" a picture askew;" but I help us to a solution of the origin of want, farther, to know how this comes the Picturesque and Beautiful that about-" the plain song of it;" in is to say, of the modes of the different short, why landscape painters and their descriptions of pleasure which we draw admirers are contented to draw any ob- from the contemplation of objects coject, natural or artificial, in the precise ming under those denominations, is ratio of its worthlessness in all other the next inquiry. respects :- Why they luxuriate in In order to ascertain whether those tumble-down temples, deserted mona- principles elucidate the causes of the different sorts of pleasure, derivable Paul's, at Blenheim or Versailles, and from the view of certain objects called he comprehends their plan at once. He picturesque and beautiful, we must perceives immediately that the parts of inquire whether these objects general these immense edifices answer to each ly are adapted to call up the feelings other; tower to tower, wing to wing, in question according to the principles pillar to pillar, window to window. He supposed. Let us take an example is struck with the triumph of order. The most picturesque object, perhaps, He comprehends at a single glance the in nature, is a tree. Why is it so ? Be- distribution of millions of tons of marcause the distribution of its parts is so ble or freestone-the disposal of thouinfinitely complicated, and so wonder- sands of yards of complicate ornament. fully diversified, that the mind cannot, He lays out at once correctly in his even by the longest-continued efforts, mind acres of lawn and shrubberyattain to a full and complete idea and miles of terrace or parterre. This plearemembrance of them. No painter surable sense of unexpected ease is could ever delineate a tree, branch by the foundation of the Beautiful as conbranch, leaf by leaf. If he did, no trasted with the Picturesque. They spectator could decide whether he had are produced and reproduced by the done so or not. Our most distinct idea alternate destruction of each other. The of a tree is only general. We have lit- introduction of confusion is the origin tle more than an outline. The greater of the first, and the remedy of that and more superficial indentions of its confusion, of the second. foliage, its larger interstices of branch, Let us take, for instance, the most its masses of shadow, and its most beautiful temple that Grecian archipervading hues, are enough for us. We tecture can boast. While perfect, it is are compelled to lump and sloven over no great subject of a picture in the a million of beautiful particularities, abstract. But let time work his will exquisite minutenesses, which our ap- with it. Let the columns fall, let the prehension is not microscopic enough roof shrink, let moss and decay and to seize in the detail. In spite of our- violence deform the stones, let trees selves we make a daub of it even in and brushwood and long grass spring imagination. Hence, in the contem- about it, and in it, and upon it-until plation of masses of foliage, there is a every straight line be broken and all perpetual excitement and struggle of uniformity destroyed, and it is picthe mind to obtain a complete idea-a turesque. It becomes so because the constant approach with an impossibi- original regularity of the plan is lost. lity of reaching the desired goal

. Dir.' We have to labour out the idea of its FICULTY, then, is the source of the Pic present state without assistance from turesque. Irregular variety is its life. its former beauty; or with such asRegularity, plan, and method, are its sistance as impedes more than it helps. antipodes. They constitute the essence If the column on the right stands, that of the opposite quality-the Beautiful on the left is prostrate. If this pedes-the term being, of course, used in a tal is entire, that is broken. If the limited sense.

wall here is regular, there it is shrunk Let us try to elucidate this farther. or shattered. If this stone is smooth, I have said, that the pleasure we de that is rough. If this part is white, rive from the contemplation of objects that is black. It is a chaos, a ruin, which are styled Beautiful, as opposed and can only be pictured and retained to Picturesque, arises from the unex- in the mind by intense observance and pected ease and readiness with which prolonged contemplation. we comprehend the distribution of If this mode of trial be applied to their parts. Take regular architecture other objects, it will be found to anas a specimen. In the largest and most swer in the same manner. A ship, for complex edifice of Grecian or modern instance, with her yards squared, her regular architecturc, general simplicity sails bent, and every rope entire, sailand order are the ground-work. Lét ing steadily on a smooth sea, at right the minor parta be ornamented as they angles with the line of vision, is as will let the details be ever so elabo- little picturesque as so complicated an rate, ever so diversified, still the gene- object can well be. Wreck that same ral design is at the first view fully pre- vessel, however. Let her lie obliquely sent to the mind. Let any one look at on her keel, “ docked in sand." See the Parthenon, at St Peter's, at St her when

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