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~gQ TIE JOiEiA ^f B;Ki. [No. aafe-?SATOB...
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PBfBOIPIOES AND {PEASANT liEPE. ttoSemFd...
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THE KING OF ROME. History of the Consula...
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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The Venom Of His Spirit? Yes, It Is He; ...
^ T ^^ ik . JindvWe siiAtein Marions quarters , buying atart ^ at « , pastrycook sJor Jus W & sg & msg ^ s tearing ^ P ° » » «« -gf ^ fr' ^ J Sw / half his nat ural allowance of deep in watch-^ fw « Shinto ^ SaattSSSketa . ^ kere wJ ^ ta , here was liberty , ^ Eia DMft-J ' . ¦ ¦ ' - ¦ ' jytcwetherihk volume of jEsso & s must besirackaiied mb worthy a ^ conspi-^ utfuanS ^ eevanttheirfiftlves of evrary weil ^ assorted library .
~Gq Tie Joieia ^F B;Ki. [No. Aafe-?Satob...
~ gQ TIE JOiEiA ^ f B ; Ki . [ No . aafe- ? SATOBDA : i ;
Pbfboipioes And {Peasant Liepe. Ttosemfd...
PBfBOIPIOES AND { PEASANT liEPE . ttoSemFduiters . "Volume TV . ' : 0 f Mountain Beauty . By John Ruflkin , M . A .. ~^ - Smith , JElder , and Co . ( THIttD jKoTICKO ^ # C 5 bbtaini . t the most remarkable characteristic of Mr . Ruskm ' s work is i ; he love it-shows for every natural . appearance : the form of waving branches , ihexfipples of light ujona stream , the varied architecture of clouds , andthe anaiuiold charms of mountains , are to be studied in his works by painter ^ ndby , poet , for ftesli insight when placed in contact with them in nature . volume
We toU not quote any of these passages in -which fhe present -abounds , because -we desire them to be read in their . proper ^ connexions ; and it is their quantity which constitutes their peculiarity . This Jove often inspires Him with eloquence , which only wante vie form to . be Wordsworthian poetry . As , for example , when speaking of . precipices , which are among 4 he most impressive as well as the most . really dangerous , " dark in colour , robed . with everlasting ^ mourning , for ever iottef ing like a . great fortress tshakenlay wax , fearful as . much initheir weakness as in . their strength , and jret gathered . after everyTaH into darker frowns and unhumiliated threatenxass . i for ever incapable of comfort or of healing from herb or flower , by no hue o ± Jire on
nourishing no root in their crevices ^ buttress « or ledge , but totthe utmost desolate , ; knowing mo shaking of leaves in the wind , nor of , grass beside the stream , mo motion but their awn mortal shivering , the dreadful crumbling of atom from atom in . their corrupting ^ stones ; Tcnowing » no sound of living voice or . living tread , cheered neither by the kid ' s bleat-nor the marmot ' s cry ; haunted only / by-uninterrupted echoes iroin far off wandering hither and thither . among their walls , unable to ^ escape , and by . the Hiss of angry torrents , and sometimes the shriek of a bird that flflts . near the face of them and sweeps . frightened back from . under their ^ shadow "into tbe ; gailph of . air ; and . sometimes . when the echo has fainted and ithe wind has carried the . sound of the torrent away , tand the bird has vanished , and the'mouldering stones are still for a little . time , a brown moth . opening andtshutting its wings upon aigrainof dust ; maytbe the only thing > £ hat moves or . "feels in-all .-the-waste of weary precipice ' darkening five thousand feet of < the blue dopthof heaven . " Isihere not a forlorn beauty in
4 his « % yle whioh affects the reader somewhat as the scene itself would attect iiim ? iuI catmotmyself conceive , " he adds , " any picture more impressive cfchan a faithful rendering of such a cliff would be , supposing the aim of the artist to be the . utmost tone of sad sublime . " But there are difficulties in sfche . way of painting such a scene ., and one alone , whioh he notices , would 4 sufii . oe . to < aeter an artist , namely , the difficulty .. of size . " For the majesty ¦ of this . kind of . cliff depends entirely on its . size ; a low range of such rock as aa-ugly aaitiis uninteresting ; and it is only by making the spectator under-» tap 4 ithev « normous-flcttle of their desolation andithe space which the shadow of their dangerioppresses , . 'that any impression can be . made upon . his mind . Andtthis ^ scale « annot be expressed by any artifice : the 'mountain cannot be « nade to look'targe by painting it'blue-or faint , otherwise it'loses all its i ^ bastli ness . It nvuatfbe painted in its-own nea r and solemn colours , black h of its
and ashen grey . ; anflits size must be expressed by thorougdrawing innumerable details— -pure . quantity—with certain points of comparison explanatory of the whole . " Hr . Rusk'in objects that painters . avoid such really grand and gloomy ^ scenes and seek a , false sublime . " A portrait is not thought grand unless it . has aJthundarcknud bohind ; it , ( asiif . A hero could not be brave in the sunahina ) . " ITateifitvilra us < as aophiatiml . JSTojjamter doubts th « bravery of n aunli ^ hteti hero , but he . "wishes i b y aecessovies : to suggest certain 'ideas . ¦* ' A ruin lsinetimelandhoJly enough > till it i is -seen ' . by moonlight , or'twilight , " adds Mr . iRuafcin , and th » ySw <;^ is » o , ^ for-durmg -the glare of'the sun , thenumerous iram df > inserts , tb »< ol )* rusWe < energyt ) f present life takes away from the « ense ttf ^ lomelpiess andtieath which a ruin calls up ; and the painter rightly -chooses such a-moment for ^ Ue representation of his object as will beBt express the Whole truth about it . OBut we must . not be temjpted . into questioning Mr . RuafcinV dicta , or we
. shall / keep , the < reader nwuiy weeks over . the . volume , lit is ipleasnnter to . wander . wUh him along the volley of the £ RU 6 ne , and see with Ins eyes , as fur . np . the glatt , " a 8 iwe pause beside . the > cxoaa , tAesky is seen , tAroutfA tie qpetiin & wiittecpmoByihin with excess oflight ; and in Ats clear ctmsumingrflame of white Hgyoctfufche aummiisrtf the rot ) kymaountninB ' are ' gathered into'solemn-crowns And'oircletB , ^ ilvmhvd in ihat-strange , ftiint eilence of possession by ihe tunJhine ^ rhioh has in it so deep a melancholy ; 'full of power yet as-. frall as shadows ; lifeless like the walls df . -a sepulchre , y ei ; " beautifdl' in . tenfter fall-of crimson ftilda , like'the veilqf some sea sjairtt , that . lives and dies as the foam fla & hes fixed an a perpetual throne , Mern against all strength , lifted above all and ut the air This
WMsroV ^ and ^ yct enkceil ; nielted terly , into hythatlaat sunbeam Ahat ^ as ; ccos «^ ih ^ is tUo ^<^^ 4 i ^ e ^ aB # 4 ^ iQ ^ iu 8 . whttt \ iiaians . ilQftt « d before , his ^ oye ;; autl as bo WMeMm . 4 o « m i » e . nxoittJiases . . Those jrooky -flummtta i » e has called / hiah jklhoraa -AU , gc aiBn » n hut the now ipdua , t 4 > not unwitnessing > to-it . Ui'he dtaMHtlhnr tm < bit > hi fij ^ lounieyi « s I his - foot apr ingsifrom ^ tho deep tu » f . and teikMoihe qttbblarjgafy < o * er'the < ed £ e-oi the < mountam , roo ^ , sees "with a ^ diMMie of -dtfligtrt Jne'bhuttwns ^ df rmt * brown cottages thatmetrtle jnuxsng-those iuyriing orohardo onfl | jl < rirTben « a { h the boughs of * he ; p ines . Here it may inlntmeyi to > him , 'If there'be sometimes hardship , . there must be at least inBjpqenoe , pe » G ^ , unfl WHowdHip df the human aoul with mUuro - B . is not
/ from their < vessel'of milk , ; to see at the foot of their , low deathbeds a pale figure upon a fcross , dying also , : patiently ; in this they are different from the cattle . and tthe stones , but in all this unrewarded as ^ far as concerns their present Jife . For ; them their is : neither ; hope nor passion of spirit ; for them neither-advance nor exultation . Bluet : bread , rude roof , dark night , laborious day , weary arm at-sunset ; and iife ebbs away . No books , no thoughts , no attainments ,-no-rest ; except only sometimes a little sitting in the sun under
so . The . wild tgoats that leap along . those rocks have as much . passion - of joy in all that fair twork . of God , as -the men that -toil among them . Berhapg more . iEoter the street of one of those -villages , and you will find it foul with thatigloomy foulness that is . suffered orily by torpor . or by anguish < af soul . iHese it JsrtorpoT , mot . absolute suffering , . not starvation or disease but darkness * of calm anduring . ; the spring known only as rthetime of the ' scythe- ; 'and the autumn-as the 'timeof the sickle ; the sun only as a warmth flieTyind as a chill , and the mountains as a danger . They do not understand so much as the name df beauty or of knowledge . They understand dimly that of virtue . Xove , patience , hospitality , faith , —these things they know . To glean their meadows side by side , so . happier ; to bear theburden up the breathless mountain flank unmurmingly . ; to bid the stranger drink
the church wall as the bell tolls thin and < far in the mountain air ; a pattering df a few prayers not understood , by the altar rails of the dimly gilded Chapel , and so back to the sombre home , with the cloud upon them still unbroken . " This is a gloomy picture , bttt he avers that it is true of the Savoyard peasant , and it-leads him into a . tirade against opera peasants , and the false delight m them when seen from the pit stalls ; actually suggesting that the vast sums of money spent on the opera should be given to the amelioration of ^ he sam e peasants ; a suggestion which need not detai n us here . Nor indeed must we linger longer over the volume , in spite of the many passages which tempt us . Our discursive remarks and extracts have by no means exhausted the book , but-they may serve to indicate the varied pleasure which awaits the-reader .
The King Of Rome. History Of The Consula...
THE KING OF ROME . History of the Consulate and the Entire ( JSistoire du Consulat et de VEmpire ) . By M . Thiers . Vol . XIII . David Kutt . A Napoleon is to be christened at Notre-Dame : a Napoleon was christened at . Notre-Bame . forty ? four years ago . Arch--Chancellor Cauibaceres presided over the first ceremony : a Cambaceres presides over the second ; and , in the spirit of the younger Kean , pores over the archasolagy of the Empire . It must be confessed that the drama , so far as it has yet been acted , is a complete restoration of the ori g inal Bonaparte programme . Processions , salutes , palatial and ecclesiastical rituals , have been copied with the most exact , fidelity , in accordance with the imperial , rubric . The second Empire dares not invent a new tableau , or even a new effect . Only in one particular has a modification been introducedinto . the design of circumstance and pomp , and this was considered essential by Cambaceres Kean . It is not possible now to christen the Child of France titular King of Home .
When a baby was born to the first Empire , Rome had been declared , by an inflated decree , the city next in rank to Paris ; consequently , in imitation of a German precedent , which conferred upon the heir of the Empire the title of King of the Romans , Napoleon gave his son to Italy . That it is not at present in the power of the Tuileries to do ; but in all other respects it is singular how the details of the original ceremony , as now collected and grouped by a real historian , correspond with the dramatic restoration effected by Cambaceres Kean . M . Thiers' last volume appears opportunely in confirmation of the identity which has been already remarked between the attitudes , affectations , decrees , spectacles , and political and religious theatricals of the first and the third Napoleon . We shall have a critical examination to bestow on this chapter of a great history verging to its close ; at present , we have to do with the birth and baptism of the King of Rome . The reader may then collate the newspaper reports—allowing for their gaudy verbiage—with the . masterly historic descriptions of M . Thiers .
. On the 20 th of March , 1811 , the Empress Marie Louise gave birth to Napoleon ' s only legitimate son . It is unnecessary to quote from M . liners his account of the scene in her chamber ; we might imagine , while reading it , that Louis Napoleon had rehearsed the behaviour of Ins uncle ; but , at last , the child was born , around whose head were emblazoned the prophecies of « . migh ty destiny .: — Napoleon took it eagerly in his arms , caressed it tenderly , and , when he knew it was a son , -was moved by a consciousness of pride that betrayed itself in his iaco ; it seemed rthat JProvideuoe had given him , in this important event , a new a »< J conspicuous pledge of her protection . Ho presented the now-born to In * -tamiiy am court , and then consigned it to Madame do Montesquiou , who had been apjwimeu governess of the Childron of . France . Immediately afterwards the cannon ot tno iuvaUdes announced to tno capital the birth of a priuce , apparent heir to the tiirono . oi the greater part of Europe . It hud been arranged that , if the child were a gin , twenty-one guna would b « fired ; if a boy , a hundred and one . The people , ruflliufe out df their houses ami crowding in the streets , counted with intense cunoaity u ^
reports of the cannon when the twenty-first hud been fired . Here the parallel onde , for M . Thiera goes on to say : — " The people were inspired with almost as much joy ns during tno mobi brilliant period of the Emperor ' s reign . " No brilliant period bus yet nmvcu in the history of the second Empire . As to the popular confidence icteric to by M . Thiors , its existence was , as he says , doubtful m 1814 , ana , i 1850 , is only affected by the Moriiteur . At all events , ^ ho shadows o . couu „ complications were then so dense that , awaiting the reconciliation ol J ° ., " ^ powers , Napoleon resolved to dolay the christening of hia buby until ino following Juno . The propitious birth was , however , announced in w » various provinces , and to all friendly courts . Louis Napoleon has loilowed steadily in'lite uncle's track . Ho circulates tho same heraldic lorinum , andipostpones the . christening to . tho same month of June .
. Extraordinary deriaion of fortune ! ( writes M . Thiors ) . This child , «> do ° 1 ^ " t sired , < ao warmly saluted ,. destined to perpetuate tho Kmpiro , is . bom nl ;» j wliontiiat . Empico , Xhoifah coloaaal , iwa Ueen undermined in ull ibs ^ rtrts , ana
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Citation
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Leader (1850-1860), June 14, 1856, page 18, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/cld_14061856/page/18/
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