she adds, afterwards made amends for the severity of his strictures on the young girl's book, by giving a most favourable and friendly notice of the first series of "Our Village." We shall not follow Miss Mitford in her more ambitious course as a writer of tragedies for the stage. She has given with great frankness many interesting details connected with the production of the several plays. Rienzi had a temporary success; and among other critics of mark, we are told that "Maria Edgeworth, Joanna Baillie, and Felecia Hemans vied in the cordiality of their praises." The author of Ion also cheered her by his advice and sympathy; through his suggestion it was that she wrote her next best play, Foscari. It was quickly followed by Julian, "originally suggested by the first scene of the Orestes of Euripides, which happened to be given that year at Reading School." About this time she wrote also an opera, the music of which was composed by Mr. Packer. It was produced at the Lyceum, but did not prove successful. We must refer to the volumes of the collected dramas for notices of the other plays, including Charles I., which was suppressed by George Colman, the licenser, as of dangerous principles, though the spirit of the piece was ultra-loyal, and, as the author herself said, "in taking the very best moment of Charles's life, and the very worst of Cromwell's, she had in point of fact done considerable injustice to the greatest man of his age." We smile at all this now, and the fact of Colman refusing the licence gives indeed "a curious view of a state of things happily passed away." Of her general writing for the stage Miss Mitford thus speaks: "Dramatic success, after all, is not no delicious, so glorious, so complete a gratification, as in our secret longings we all expect to find. It is not satisfactory. It does not fill the heart. It is an intoxication, followed, like other intoxications, by a dismal reaction. The enchanting hope is gone, and is ill replaced by a temporary triumph-very temporary." More pressing and practical considerations turned her pen to other fields. To the magazines, the annuals, and other periodicals, her contributions were numerous. length, in the sketches of "Our Village," she hit upon the vein most profitable in its direct advantages, and most favourable for her literary reputation. It is mentioned as an instance of lack of editorial discernment, that these papers were first offered to Thomas Campbell for the "New Monthly," and rejected by him as unsuitable. We can hardly think that Campbell acted on his own judgment in this decision. Be this as it may, the "Lady's Magazine" had the honour of first bringing these charming papers before the public. Of this work, with which Miss Mitford's name in literature will be chiefly associated, it would be out of place here to pass any critical opinion. The general verdict of popular taste has approved of "Our Village," as presenting true sketches of English rural life, while a warm and cheerful tone of kindliness and domesticity At pervades the work. Those who look for romance and excitement in what they read, have little patience for scenes so quiet and homely; but there will always be a goodly number of sympathizing admirers of Mary Russell Mitford's stories. Happy both for herself and for her readers was it, when, in the words of her own affecting narrative, "the pressing necessity of earning money, and the uncertainty and delays of the drama at moments when disappointment or delay weighed upon me like a sin, made it a duty to turn away from the lofty step of tragic poetry to the every-day path of village stories." Of Miss Mitford's later works, the most noticeable is that published under the title of "Recollections of a Literary Life; or, Books, Places, and People." The personal narrative occupies a secondary place; but the anecdotes and reflections which form the bulk of the book, while rendering it delightful reading, furnish the best illustrations of the writer's taste and character. Very pleasant is the picture of the peaceful evening of her life in her cottage home in Berkshire, as given in her own pages, and in those of kindred hearts who have visited her. In some recent American records of travel, there are gratifying notices of Mary Russell Mitford in her old days. Declining health, and an accident about three years ago from her pony-chaise being overturned, have required greater seclusion of late; but the active and genial disposition of her mind remained, and she has passed away amidst regrets which surviving writers may well be ambitious of equally meriting. "BRAMBLES AND BAY LEAVES:" Essays on the Homely and the Beautiful. By Shirley Hibberd. 12mo, cl. pp. 237. Longman & Co. Ir we were inclined to find fault with anything with regard to the interesting volume before us, it would be with its title, which, we think, inadequately expresses its character; and yet we should hesitate to sanction, much less to suggest an alteration in a title under which a favourite first became known to us. We have, in "Brambles and Bay Leaves," an amount of information respecting "green things," which proves the author a man of deep research and of extensive reading; and no one, with a taste for the beautiful, can peruse this clever work without observing and admiring the truly poetical style in which Mr. Hibberd writes on truly poetical subjects, and even on such matter-of-fact topics as "the formation of an herbarium." The style is by no means prosaic. "Brambles and Bay Leaves" is a work which will grace any library. Our fair readers, who are, we hope, lovers of nature, will be delighted with it. "Floral Symbols," "Floral Antiquities of the East," "Uses of Wild Plants," "Floral Customs, Superstitions and Histories," are subjects which must interest. "The love of flowers Is an inherent passion in the heart Of man; it never dies." I. "THE FRENCH LANGUAGE."-The Lexicon French Grammar, for the Use of English Students, on an entirely new and improved principle. By Saint Ange Siméon. 12mo, roan, pp. 456. D. Nutt, 1855. II. "A COMPLETE COURSE OF INSTRUCTION IN THE FRENCH LANGUAGE," in three parts; Grammatical Course; Reading and Translation Course; Conversational Course. By André Sears. Second edition, roan, 12mo, pp. 460, D. Nutt, 1854. III. "AN EASY AND PRACTICAL INTRODUCTION TO THE FRENCH LANGUAGE." By John Haas. Third Edition, 16mo, pp. 140. Darton & Co. 1854, FOR very young pupils we should recommend the last named of the three excellent works before us. Mr. Haas has wisely adoped Dr. Ahn's sensible method, and he frankly acknowledges that his work is founded on the Doctor's "Practical Method of Learning French," which, as many of our readers are aware, was compiled for German pupils. The system, under various names and modifications, is becoming very popular; its leading feature is natural simplicity. No mother would attempt to teach her infant to speak by making it commit to memory grammatical rules-she would teach it the most common words first, and proceed gradually to the construction of simple sentences. Just so should a foreign language be taught--especially to childrenand Mr. Haas has contributed to the systematized methods of doing this by the publication of a cheap little work which well merits its title. The Lexicon French Grammar of M. Siméon will, we doubt not, prove an invaluable work to those who are desirous of acquiring, or of assisting others in acquiring verbal and grammatical accuracy in the French language. The author thus commences his "Introduction:"— "The following pages are not presented to the public merely as another French Grammar, but as a new French Grammar; new, because it contains several novel features which, we trust, will be found decided improvements-greatly tending to assist the student, by rendering his labours less irksome and his knowledge more accurate." The work is certainly very elaborate, but the arrangement of it is so admirable, and the information it contains so useful, that we shall not complain that M. Siméon has ranged his instructions under no fewer than one hundred and sixty-four rules, to most of which he has subjoined suitable exercises. The "Syntax Raisonnée," which occupies about 200 pages, should be carefully studied by advanced pupils, and even by beginners who are conversant with English Grammar. The Appendix contains thirteen lists which the teacher and the student will find peculiarly serviceable. As might be expected in the first edition of a work of such a character, there are errata, but the inconvenience is in part remedied by the errata being printed in good bold type in the most conspicuous part of the commencement of the book, instead of their being, in the usual but very objectionable manner, printed in small type at the end of the book. We hope, however, that a second edition will ere long be required, and that it will be free from errata. The complete course of instruction by M. Sears is, we must confess, more attractive to us than either of the two excellent books we have already noticed. It is well printed with good type-and this in itself, is a recommendation in a school-book. The "Grammatical Course is carefully arranged, the rules are neither numerous nor long, and the exercises evidence preparation by a pains-taking practical teacher; the same may be said of the "Reading and Translation Course," which is superior to anything of the kind we have yet met with. To this course is appended "A Dictionary (French and English) of all the words contained in the Tables and Moral Tales." The "Conversational Course" differs very immaterially from many other well-known and approved works of the kind. The "Correpondance Française," which presents "Modèles de Billets, Lettres familières, de Change, et de Commerce; Bons et Reçus," as well as "An alphabetical List of mercantile expressions and abbreviations most in use," will, we feel asured, be attractive to the student. "THE FIRST FOUR BOOKS OF MILTON'S PARADISE LOST:" with Copious Notes, Grammatical, Classical, and Critical, for the use of Pupil-teachers, Training Colleges, and the higher Classes of Schools. By C. W. Connon, M.A. 12mo, el. pp. 181. Longman & Co. We run no risk of being found false prophets in presaging that this admirable book will ere long be used in every really good school in which the English classics are taught. Mr. Connon, who is known to teachers as the compiler of an English Grammar, evinces in his "copious notes" much erudition, refinement of taste, and critical acumen, and yet there is an absence of that repulsive dryness which characterises annotations of similar pretensions. The notes are original and selected; and without flattery we must say that the hope of the talented author has been realized in the former being in every way worthy of accom panying the latter, which we are told by Mr. Connon are those of the most eminent commentators on Milton. The chef d'œuvre of the bard, who was at once the Homer and the Virgil of England, is, we fear, more praised than read, and more read than comprehended. It ought not so to be in a land thus apostrophized by the author of "The Seasons :". "Is not each great, each amiable Muse Of blowing Eden, fair; as Heaven, sublime." We trust that the following extract will induce those ladies who have superior schools, and who desire to cultivate in their pupils a taste for elegant literature, to introduce Mr. Connon's work into their establishments. "Of man's first disobedience, and the fruit Lines 1-9. Of man's first disobedience.] The natural order of these lines is “Heavenly Muse, sing of man's first disobedience," &c. There has been some dispute among grammarians as to what part of speech of (the first word of the poem) ought to be considered. I incline to call it a preposition; but it certainly may be considered an adverb, being used to qualify the verb "sing" in 1. 6. The good of the inversion is, that it enables the poet to state at once the object of his song. 2. Whose mortal taste brought death, &c.] The word "mortal" is here used in the sense of "causing death," not "subject to death," and it may be allowed that there is something pleonastic in the phrase. But the blemish is very slight, if it is one at all. Too many pleonasms would indicate conscious weakness, but the occasional use of one may spring from the exuberance of strength. 5. Restore us, and regain the blissful seat.] What part of the verb are restore and regain here? Why does Milton use the definite article the blissful seat? 6. On the secret top of Oreb, &c.] Some have proposed to read "sacred" instead of "secret;" but no one can study carefully the account of the giving of the law in Exodus, without being persuaded of the superior propriety of the former epithet. "Of Oreb, or of Sinai, didst inspire M |