discriminates, and values each aright. Urbanity is less graceful in a woman than in a man. Monarchy tends to make men civil; republicanism, to make them urbane; aristocracy, to make them polite. We teach civility to children; young men acquire urbanity from their promiscuous way of life; married men grow polite, from being removed into circles more select and more refined. Without a previous basis of civility, urbanity is too intrusive and sarcastic; without a previous basis of urbanity, politeness is too leisurely and stately. Civility is inconsistent with arrogance, urbanity with reserve, and politeness with rudeness.' • To review. To criticize. To censure. • To review a work is to overlook it for the purpose of giving some account of its contents. A reviewal may be a mere analysis without any commentary. To criticize is to appretiate, to give a motived judgement, whether favourable or unfavourable. To censure is to pass a sentence of blame. An author wishes to be reviewed with attention, criticized with taste, and censured with moderation.' Opponent. Antagonist. Adversary. Enemy. Foe. Those who are pitted against each other, (ob and pono) on any Oceasion, are opponents; those who struggle against each other (avr and aywurs) are antagonists. Habitual opposition, or antagonism, forms the adversary (adversarius). Unfriendly sentiments characterize the enemy (in and amicus), and active hostility the foe (fah avenger).' Such tame opponents do not deserve the name of antagonists. Though antagonists in this debate, they are not adversaries. Adversaries throughout life, they esteem each other too much to be enemies. The French, says an Antigallican, are our enemies, even peace, and our foes in every war.' in Quickness. Activity. Swiftness. Celerity. Quickness is a Saxon word answering nearly to the Latin activity; and swiftness is a Saxon word answering precisely to the Latin celerity. Quickness and activity may be displayed by motions on the same spot. Swiftness and celerity can be displayed only by motion from one spot to another: they describe velocity of progress. Quickness and activity define the motive force exerted; swiftness and celerity the movement produced. Quickness announces swiftness; as celerity results from activity. In their proper acceptation, quickness and activity are nearly undistinguishable; not so in their metaphoric employment. As quick originally signifies alive, sensatious, and animated; and active origi nally signifies busy, hasty, stirring; quickness of mind denotes rapidity of perception, whereas activity of mind denotes restlessness of attention. He is intellectually quick who conceives readily; he is intellectually active, whose mind is always busy. Mental quickness is the reverse of stupidity; mental activity of indolence. ག་ The adjectives swift and celer, on the contrary, being originally of like meaning, and both signifying speedy, the words swiftness and celerity do not differ in their metaphoric application. Swift of foot. Swift of speech. Swift of inference. Velocitas corporum celeritas #5 appel appellatur. Cicero, Celeritas verborum. Quintilian. Celeritas percipiendi. Quintilian.' A promise is given in the introduction that, in the event of a favourable reception of this volume, it will soon be followed by another. Our voice, as far as it can go, shall be directed in support of the author's intention; since we are fully satisfied of his competency to the task, and equally aware of the deficiency of our literary stores in this department of inquiry.— With regard to the mode of printing, Mr. Taylor very properly consults nothing but the convenience of his reader, by giving the public a small volume in a plain and cheap form. ART. XIII. The fair Isabel of Cotehele, a Cornish Romance, in Six Cantos, by the Author of Local Attachment, and Translator of Theocritus. (The Rev. R. Polwhele.) 12mo. pp. 371. Boards. Cawthorn. 1815. " : No avulso non deficit alter." avulso non deficit alter." When shall we behold the "death and burial" of this species of poem? No sooner are we, with pain and difficulty, delivered from the tortures of one, than we are summoned to encounter some other monster, wilder and fiercer than the first. Happily, it is not necessary to bestow any considerable portion of our time and attention on these little ephemeral creatures, which, like so many insects, harmless and innocent in themselves, nevertheless annoy us by these swarms, and weary us by their persevering intrusions. We think that it would be labour ill-spent, were we to attempt to give our readers a detail of the story of this poetical Cornish Romance suffice it to say, that it contains an account of the illustrious achievements of a certain number of knights, friars, palmers in sanctimonious cowls," ladies fair asleep in rosy bowers, prioresses, monks, and nuns; as well as the history of sundry castles, towers, battlements, ghosts, spirits, and all other and several the auxiliaries and appendages of the romantic tale. We were particularly struck, in the perusal of this performance, by the extraordinary number of songs; which, though perfectly irrelevant to the subject, and wholly unconnected with it, the poet introduces whenever the Muse is at fault, and his genius begins to flag. Each canto opens with an Introduction ;' then, towards the middle, occurs a collection of songs and sonnets of various sizes, which are sometimes varied by a Hymn to the Virgin,' or a little interesting species of psalmody; after these, we have a few stanzas about love in a bower, sweet endearments,' love-sick fancy,' and the like; and the scene closes with an appropriate moral conclusion about the shackles of a barbarous age, enthusiasm, bigotry, and bondage. In the second canto, we reckon not fewer than nine of these songs; some of which are of such original and striking simplicity, that we cannot forbear to transcribe one or two specimens of them: Song the First. "O tell me, why by day, O tell me why by night sidlo hell • If down the dale so green, I cast my w wishful eye, NY "Tis barren all and dark, if I no rose espy: If in my visions wild, I wander o'er the sea, Till now some faery power the expanse with roses strew: Again: "I was then, in sooth, a cottage maid, I met a fine young gentleman Whom some-one would rejoice to see But how you could such matters know, Tadio Would puzzle the de'el to say, I trow! For there was neither carle nor crone Nigh the cot or the church, when the clock struck one! If mean me! you m You, sure, have power to bid me look A little into Fortune's book; Whatever my poor hap may be If you mean me!"" A degree of peculiar elegance marks the following lines, in which Isabel's femme de chambre, Jesse, a gentle though a Tural maid,' comes in to assuage the sorrows of her mistress, who is weeping for the loss of her mother. Every line breathes the accents of consolation: • "Jesu Maria! what all alone! Like you, laments not every one! But O! had I lost such a mother, besure, abe. I said And your To fight with a rebel, and die in the fray! Than that old hag, the Prioress! Canon And that dark Monk, of shaven crown, " In the third canto, after a Hymn to the Virgin, a certain animal in disguise what seemed a friar,' with visage wan, on which sat the moiety of a grin, is thus happily introduced : But scarce was the last echo gone, Fainting as in prophetic tone, Ere at her door, what seem'd a Friar, The early affection and increasing flame of Edward and Isabel are pourtrayed in language thus impassioned: Yes!" many a year" with Isabel And what were her's but sister-sighs?" ni. We might prolong this amusing strain almost ad infinitum : but we think that enough has already been said of the fair Isabel of Cotehele; which, in spite of the still existing contest between Papists and Protestants,' we cannot deem so peculiarly interesting at the present day' as the author appears. to hope. Without considerable amendment, indeed, we had almost said, without a total reformation of the piece, we apprehend that it is not likely at any future period to be more favourably received: unless posterity should haply have imbibed a much keener relish for carles and crones, and minarchs and bazars, and faery phantoms and shrivel'd, unshrieved witches, than we have ourselves hitherto been able to attain. MONTHLY MONTHLY CATALOGUE, FOR NOVEMBER, 1815. CLASSICS, EDUCATION, &c. Art. 14. Collectanea Latina; or Easy Construing Lessons from the best Latin Authors. By the Rev. W. Allen, M.A. Master of the Grammar School, Bolton-le-Moor. 12mo. pp. 160. Law and Whittaker. This little elementary volume consists of a certain number of appropriate examples of the syntactical rules in the Eton grammar. It is accompanied by directions to the young beginner for the proper method of construing and analysing sentences, and at the end is subjoined an index verborum, compiled after the manner of a dictionary. The work is well executed as far as it goes, and the author aspires to nothing more than the hope of its being found easier and more progressive than any similar book which has yet been produced.' At the same time, we confess, we have been unable to discover in it any particular utility, any new method of explaining difficulties, or any saving of time to the student or of trouble to the instructor. The examples affixed to the rules of the Eton syntax were already, we conceive, amply sufficient for their illustration; and the directions for construing and parsing might as well if not better be given by word of mouth. On the whole, we rather approve the usual method in our public schools, of putting into the hands of young scholars the Fables of Phædrus, or the Epistles of Ovid, as soon as the grammatical part of the language has been thoroughly learnt: at all events, we should recommend something rather more entertaining than a dry uninteresting set of examples. Art. 1.5. Fundamentum Latinitatis: or, a Grammar of the Latin Tongue. In which various Errors and Improprieties of Latin Grammarians are avoided: seven Tenses are claimed, but three Moods only; all the Rules are simplified, yet, besides those in English, given in Latin Verse; wherein the numerous rhetorical Fi gures are briefly explained; and Versification also is facilitated in a full Account of the Metrical Art. By the Rev. Richard Postlethwaite, Rector of Rocke in Cornwall. 12mo. 5s. bound. Crosby and Co. From the pomposity of this title, we were induced to expect something peculiarly striking, learned, and profound: but the perusal of a few pages soon convinced us of our error, and brought to our recollection a line in Horace, which we remember to have heard Porson once quote on opening a dead oyster, "Quid feret hic tanto dignum promissor biatu." In point of fact, then, this Fundamentum Latinitatis, which, with the despotic sway of arbitrary authority, claims not itself seven tenses, and with the frugal penuriousness of grammatical economy is contented with the humble possession of three moods only,' in which all the rules are simplified,' &c. &c.all this, we must inform our readers, is nothing more nor less than a very bad edition of a Latin grammar. So far from being an improvement, we conceive it to be the strongest illustration that we have ever |