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! JidereTt ^ pe » eei *> exIi ^ fiet < OTice 9-we could haret » ni ? one senteafcionu h t&e « bmterityand « nBulla « tteity of seasation from \ Cwo '« yfe& * ad two ears whieh constitute single vision and * single audition , ife Smee'S explanation "WHl neither meet tne ease * jost mentioned , -nor wall it ever explain why ,. in- Btiite ^( Sa « iw ^ t ^ 'We bave ** r o senaatiicm s from acn objeefr known to & «~ single ; iBbe ^ x ^ lBtifttion we ka ^ e suggested w , wet believe , novel ; let ttie reader- £ * d"B ^ ii tfc © ow iftp t £ atlk » - ¦ ' ' ¦' Before sendmg-theleader . l t » Mf ; Smee ^ s irorir for infonnataotf aw tne various topi c * fofftfeto ^ weU ^ i * w& cite tfee following passage for the sake nfite gwwitiBaibetB-ifig ^ - - ' ! ** Oar © nans of < wsi 6 ii dmtfifeiiSrto [ ju ^ S ? wltether an object be at rest orTn motion . W& n »« re « f 4 t « mio » aonifttMiibefftroH } eetf to nwvo the eye t » maintain a distinct nrraeie of . fcB *
object ; and ia this case you also perceive that our sense of tftotioir initfaeomisclcs givesiriiw to tbeide * ef jdotioB ., jph « linait «< i fieldxtfLdi « tinot vision most ! much contzibnta to -the accuracy of . oiyr idea , of , Jtheipootioa of j a . body , * Tim . may observ * many luriooa effects < rf ¦ jygareni rest andD motioa on the river eteamers , wihetker ofcfier boataftre afc rest or in motion ai * onnf you . Tbjojflgeujff motion in other bodies you most either te at rest or kjtfw your own r / ttt ( '« r pi ogrcttukfl , * ' « r ydtr Htey-ofr- ltetrinltociiHo > iiB errors . MbtuKftuFeefrjr niJUffns ox from 70 a is a ph "i > iT "> n " ytv flffl ^ it *** Qppraoiat ** , ii ^ 1 * : you will find that binocular vision assists you materially to judge of the effect . Besides our estimate of motion by the muscles of the eyeball , watnhlt also ttke inta . cxHosidaeation the action of the muscles of tte bead in gome cases ; hence , our idea . of motion as deduced from our sense . ot muscular Olio v * ineiits , is-fl >'~ vcry" com ^ lix Jtflliir . ' ' : , - / , ' '"TMb eye . Jaits normal state , is influenced , by the seven colours of the sgectxum , kpjur&utes cafcfi cdlottr , andrviewa white light uncploicr ^ fll By the optical apparatus objects are &kpitted appaxt fntly free front spHerical tHterratlon , and' ait igori the retina . If . is , mdjed ^ * I » ejror 5 ral * igW 6 'to observe the inverted image which Is ftra ^^ ptni '^ ieretina of / tun ammai , arid which inafy be-seen by scraping . away the badfcTwirtdf tfieraieierotic . "'• 1 ' ¦ - ' ¦ ¦ ¦
• «• Afwrtie imagewToftnedupun the retib * ittnkwa < wrtaiB time far the Idea of > m < m to be coa * bmfoati ^ w * MitiArle « ii dit € r « iBbd-lb * e'tt ^ MJB ^ « ighth of aswcond , ' < r ti wkfoh * ccon « t ^ 'tt ! rjfe ^ miupid rotatory motion , appears as a circle , because the impression e . n-< lures till the obiecLacBB'ajgsiii ; ' ' ^ •' -: .-. ,,-: * t . . •> , ¦ _» A . u Thtff « ilfrffitM > febeingjequired y iaipn fras an important bearing upon railway acqi-( lents ,, sS ^ iC fi t tyifttt ' . ntshuistr * tfwt "uHly & tMrtun ~ nrttttbcr of objects , txux btf , sctoi ^ t ^ fy nnnute- TJiiSfer the present system ,, the ejagjne-tdriyer has to look out fop a ^ s ^ , retfnlatfi ¦ fifir engfne ,. and attend to its working : NondfmBDeia an engine is trav ? Jln ^^ at six ^ i 4 fl [ es"aii Bonr ^ an lonmensi ^ r of ( AJeyftr Iras' tfr be ioctiseff and -observed 1 befow fte ^ engniB ^ cait we Arrren ^ witlrwiftiiy ^ and practically we find that if anjtMtigte axriiaa rtM ^ fremrnrtry mi *^ arrcdl «* d * ^ M « M : ' i « oa € nt is the result , Th * lawsTof ' TisTon nfflcate ^ tbat a bhhAj eniSrektte ^ we'is wquind t » m » pe <^ & * n ) i ^ forsaf ^ tm . T « flrogi and ^ prol » Wyfir ^^ B ^« W «« Ht !»« limft ^ ra * i * ction at one time . : > . . , " Wlien a fatal accident occufSftwm t * fe en ^ ne- * Teer » havihgtoo'intrdi to aib , Be shtHiKl b ^ aaflblrforirianil—^ tw ^ asth » hi » in ^ bjmnnesp to ^ ndBrtake - diEtie ^^ Mckfce ^ eftftnoif pos * gHbly ' l jjeiiOliuP - Tfie-mrectors who employ him in so marderous a manner should lie held Qxim&affl y liable , besides being compelled to mate large pecunwiy « on ) pfln « a ^ on for any ^ tunfogfr yhig ? i'TTta y ^ Tttm * r ' ^ ¦ ¦' *• ' ¦ ' ' .-
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mistake . We have read sevepai « F flie poems in 1 fh 5 * vt ^ ame , but we have seen uo single verse that-strict ^ ^ eaStng-juaa ie a ^ e publicati on of what has been a private ^ easiwe TTe uKgp luan to coi ^ nue by all means this elegant emplovmentof fare leisura ; but , we urgehintto remember the distinction between publicity and privacy . If he has anything to instruct the world let hina use pros , ei - ; In the author of Morbidkj , f > ry Passion Past * and other Poems ( Saunders and Otley ) , the mistake we £ * ve : just commented oa risse ^ nearer to an irapertinence , in the tone of jaunty carelessness iritk -whiah he throws his acknovyledged crudities upoir : tbje&world s—
"Most of these pieces were written long . ago . I am qntteusrare that it is no reasonable plea to state that they were wxiUaE ^ very rapidlji but I venture to mention the fact as it is a kind of excuse . The second " , thTrd ^ forth , and fifth poema wfere wr ^ tea ia about a dozen nights ; and some of tha other ? ,. pf , « tpsiderable , lengjb ^ at A ^^^ ttuag each . Several are unfinished , and some much mutilated . , . . ' - ... ? 'I am conscious that I ougfetto endeaVouj tft amend muck of wKat I now commit to the press , and not to ' shdof thes [ e . clearings q £ cpx . desfiL there ; J > nt X 4 o no > t think , it worth while to expend any pains upon > dcli mateiials . VI Jew ttMifnvMJtoj ,-jet vain to try to make these compositions worth much / : ' tjhje . fQundatwinkM&'t& ' aaadnrS * . r " '¦
He does not think iliwJr ^ kwiate to e ^ tp « iid : a ^ - toauos in making these things better worth jour acaegtaxiceS 'J ^ h ^^^ mS ^ i ^ j ^ oTtlkhw whileahl then , indeed , perhaps , jrqitjdo ^ M h ^ e geiM ; J ^ 56 'Jf , yen have only diamond dust and filings ! ' ' 3 ie author is toa bleyec mmeBU net to see—oil reflection—the folly of all tbas . . . ,. » ; - - ^ , - .: ' . ... ., uv ; Mr . William Thomas Thcrnton , alreadyknown ^ aiipHavourably , to tie world in prose ( Essay < M € foa ^ -yotivfatiphand , & J ^ feo jffijtfeapant Proprietors ) now courts the suffrages of p ^ ia ^ L ^ d ^ s ;^^ Vj % wguB ^^ bArd& ; or , a Midsummer Day ' s Dream , aydQlUr Pwms (^ ugpiaa mid Got ) , &nd he does so with full consciousness o £ ^ ha ^ ; he ia dkang ; : —* > in h
" I shall not in these few phts ' oif ' mtro ^ hctiop Tw goil ^^ flwi j m naparent affectation , so frequently committed by writers om-their feat ^ ippekr an ce * m poe ^ Ebcostome , of depredating my own performances ; ^ if I ' tftdughfciU ' oPI&em ^ myWl ^ l ¥ houJi of courae nftt needlessly expose them to the sxratlny ; of » trib < ift ^ whose TOffjpiw ^^ Boiild sc arcely earoect to be more lenient tfcan my own-. y 3 itt tho ^ gVXtttay ^ # wh ] Sn ^ 7 ' ( wnfess ^ what it wouLd . be useless to deny , thalf If ^ lfeve nijr * attempt tn verse' 1 nTw ^ o * ' mfi ® or tx > those of maay other authors , whose productions « ave beerk racepfed with eoosSSdnli ^ ikVoiir by the public , and though unable t 6 ^ 1 ^ ' ^ hangar or reque ^ of fineito ^' iiteioApfepr publishing them , I may at the same time drtla ^ e tllafr 1 few of ^ ei ( iircmld hive teen writtc&n , and none of them assuredly , would hav « Ti ^ j > nhl ^ ^ le ^^ view a much , higher object than that or eitftear Wntdlmting ' to' jwjpm ^^ mtisemebt ox competing for popular applause . " > .. : ; ' . . ¦ . 3 * 1
And in what may be called the epilogue to ineichole ^ ire further read lis purpose : — •¦ ' ¦ < •¦•¦ . ¦ ¦ .. ¦ ¦ - .: * . .. > ..:..-:.:.., •¦ . . : • • : ; *¦ ¦• ' ' -,--u U-. * T& . i . ¦ : » :. ... : ' : . . A «* JQfflar STUAB 1 T -iMffil ^ 13 S ( 24- . ' v " US IMITATION OP Ait SPISTI 2 EP CHT HOEACB T * O mWsBNAS . M Dear M ^ wlM >^ friendsbjgts ^ dly ^ mBlMi ^ l X Approved mgL ^ iat worj ^ « ad eqwurawdithi ^ i , v Scarce will you . ad ^^^ jjcgBfe ojd « tu £ «» t » rtttd ( Myjoarn f uafcaowmra , s ^ wiye ^ ttn «« iied ^ : " \ . . . Problems abstruse . and touch , no moral try ., . T •¦• mm ^ mmm ^^ k ^ t ¦ ' ¦ - ¦ " - •¦ ¦ •• .... ii .-.- . ¦ i - ¦ '¦ ¦ ¦ ¦ Dig ^ a ^ noaoresmixerians ^ ^ dbflect ^ < - ¦¦ . ! . ¦ ¦ i , y ,,.-[ .-. ['] , 1 . . ¦ , 1 Fo ; ti » e «^ h 9 «« aimp ^^ er ^ ¦ ¦¦ An& £ m ? fa t ^ fBJ iwbby ^ rm . - ¦ . ; r > .. ' : ¦ . ;¦? ¦?¦ ¦ .-.. I Lwt . t ^ -t ^ &de ,. Turgej ^^ ' In some absura extreme breakdown at length . TherefoE » I change , myafcwd , and-soaring higher , Of loftier truth and nobler good enquire , Andin tiii »{ nest f foriny wnol « heitrt , iB | ia't 4 -, j- } CuIT and coiapose what pxesently I prmt J * ' " , " . .
M ^ QoDEKS PQEIESr . HAZZIA THE SEGONDt . . . I 3 ^ CDmntcin ! cing" s second Hazzia auiong the * Poems , " trfiicn like ftiees ~ in JWitrtmeri Bave been crowding wiih murmurous clauv ^ ux th « « rj ( txanpB rfeqr the Slive of fucnBBsua t we must , first dispose of » little brochure > Seteci&Qn $ \ ffX / tn sfffaFtifetrn qf Heinrich Heine . Translated by John Ackerlm ( John Chapabany , a coxious little volume , . which * th& translator modest ^ ^ d \ rnf jrk |^ s ¦ ^ willgjsrefomeidea of Heine ' s matter and manner , "But lam ph % tb ^* en- . Jtible ibxt the ^ « k > not justice whatever to , the original , JfoitbWh&ve they ! ^ en ^ selecttccD as Heine ' s best poems ; there axe better pwemwtinan aS » y of ; « these among * his poetry . They were uele « t « dE simply becaeuse they seetoed i -to me to Be ^ most susceptible of traassIaiioh'FBhtnit violence or Hteitrmnur- is
« ce , imdin thjq majp ^ o be charactews ^ c . *^ r t ^ re nq 1 $ effiQO $ tqf $ ie airy , delieately-snadedi poema . iofi HeineiiiMieiuig . with , arfecumfcfi ti >* naliiiion , find-John A ^ ckexloft Jmmv . done basely ; in leaning them unattemptedv Unhapp ily the best spechnettmB ^ rvolume £ 3 tile ^ wicked ancf ^ fxt ^ f poem called Disputation , irHcK , as He intimates , is ^ strong meat , ' tod I entreat jgentlemen of weak and ladies of all digestions not to meddle with-it ., " Those who are not seared bjr Babelaiaic : Am aod language saw feudle de ^ figuier j caa alone be told _ to read it . ' The translator holds out a hope of following up this volume with setectrons from Hetne ^ s prose : a better venture , we think .
The remarks we formerly made on the distinction between cultivating the accomplishment of verse as an elegant accomplishment , and publishing the products thereof , never seem to have occurred to the Rev . James Banks , whose Nugaes the Solace of rar ^ Leisure in Verse ( R . Hardwicke ^ has . on the title , para its condemnation . Poetry is an . Art : an Art requiring , « ver . aadil ) Qve . the creative faculties , the severe discipline of crea > - tivelabour . Young gentlemen , and- ladies , maj ; dash off a stanza" as they u knock off a sketch . " _ The thing , is not diificult of accomplishment nor much worth accompliahiug . Unless they give their lives-to Art they will not produce works hsivimg life ; It is not m- J 3 aonienta ; of rare ; leisure that works are writte % be those works , no longer than a-page each . The Rey . J . Banks lt asks of the public a ., candid perusal . £ | e 'dowes not deprecate criticisms from which he may gather wisdom ; nor , ou the other hasnd t court inniit ! nr < 3 ir > r » g » -nrlii /> 1 i miirlit . ikiirtvTiinn iiritTi felaA Kanoa : TTia / li > 1 ioilii ' . ia in VArm . ¦¦ 1 te l
^— f ^ ™ T »^^ v v ^^^^^^ ^ v ^^^^^ i ^^ v v ^ vm ^ & y ^^ i ^^^ K ^ b * yfmw t ¦ # « p 4 i ^ v ^ i ^^| V | M ^]^/|^ if ^ i - \ _ T ^» V «« ii | 'wvnrri ¦ m m w ^^ ii || fixation , and he . ia not likely tot forego , it ; though the favour or disfavour of < the present effort may suggest much of improvement and amendment /' Now let us ask Mr . Haoks a plain question : the volume he has printed gives « uch evidence of an amiable accomplished mind that we feel we may speak to him ia all sincerity . Ia asking the public for a candid perusal does -he not see that he is asking what in another would be an impertinence ? Suppose a ma-n w&re to ask the public to come and hear him sing the music of Beethoven or pluck , at the same time announcing that he Lad never trained himself as a singer , but had only given to the art some few intervals of leisure ? Suppose another were to aak the public to come and candidly look at ( hutvinc paid some : shillings for the privilege ) his pictures , ho at the same time declaring Painting was not the A _ rt lie had been trained to , and -these sketches were merely the result of kia leisure ? What would Mr .
tfanjca say to such proposals ? Yet , li ' he doea not see that Poetry is an . Art as difficult as these , ho has yet to learn wkafc Poetry is . That he has delight in versification , -we are pleased to hear ; it ia a refined and refining pursuit . He versifies with talent , as we perceive . But might apt the Singer and Painter Bay ub much ? We do nt » t charge Mi-. Banks with an impertinence—simply with a mistake . In publishing he has only followed the precedent of thousands ; but no precedent will make it other than a
The volume is , if not poetry in the strictest sense , at least the expression in vess&oi ? reaL feeling , »» MtMa £ 3 . tc « u (^ ng-- ^ ^ of a father mournfully yet hopefully alludeatatha k > st child—twadtly reflecr tive end religious He sltGM&l n& % , Jioweyeri echo the ; old fooEabikes * * -r- ' ' " Were there mo God ,. « i » d : wemit trtw ^ thafc CUian (» . ;; Is Katurft ' B jhxwgjvpr n ^ rwived to bo Supremo taroogpout Jnfi ^ it ^ ' a expanse , Aiid co-existent with eternity . " ' IKemust know that there is- not tu sane man -wnq believes , enhance /^ o be ITature ' s lawefver ^ " and that cheap refutations of non-exwteait ^ ftbawtditieis are gpjod neitaer in verse nojr prpse . The best p , oean in ihe volume is « Zfihrah —the theme £ < ecentj . yi treated by Matthew Arnptd- —winch is a pictuieaaue narratiV | 6 uneacuml > eared fey " fine Language . " Of the sonneta wenreftr Uus —^ for its sentiment ,: — " With ^ abape ,, almost with horror , -we reject "Their abject solace , who , of sin innate Cahnly discourse , and wrath prcdostmate , Yet , wr themselves , by partial grace elect , Exenoptiooi txom the general doom expect . Suoh doctrine we disdain , of prescient hate Creating mnn for wraith insatiate A helpless victim;—scorning to connect Hopes of salvation with divine caprice A paren-1 , not a tyrant , wo adore . Our God « xacts not human sacrifice . And who liia guardianship denies , not more Inaensate ] y blasphemes , than who imputes To Him a Moloch ' s monstrous attributes . "
We have here two volumes by ladies— Poems , by Anna BUxchwell ( John Chapman ) , and Summer Sketches and other Poems , by BessU Rayner J ? ar *« ( John Chapman ) , both of which display an unusual a . mount . of the accomplishment , although neither would have been written had not other poets wjriitep before them . One peculiarity in these volumes is the predominance of re ? flection over feeling in them , and souietimes tliia reflection is expressed it language strong and clear . Here is a passage in whielL Miss Itokej eloquently utters the woioau's view of the woman question : *—" / Suppose some small philosopher declared ' Mwu is a creature framed to such an oud ,
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W I H it Marc *? 48 ^ 1854 . ] ¦ 9 ? ( DA g ADM . ^ 5 & .
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Leader (1850-1860), March 18, 1854, page 259, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/l/issues/vm2-ncseproduct2030/page/19/
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