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The only periodical which France possesses as a rival to the Revue des Deux Mondes is the Revue de Paris , which , after four years' existence , now seems likely to hold its ground as an organ of liberal opinion . In the July numbers there are , besides other papers of interest , two of more than ordinary ability , written by M . Frederic Mokin , on the " Philosophy of Science sought in its History . " We by no means agree with the conclusions
of this writer , but we call the attention of thoughtful readers to his articles . He endeavours to prove that the vulgar notion respecting the characteristics of ancient and modern science is a vulgar error ; and it is certain that the majority of men hold the opinions he combats , although the few do not . It is only the superficial who think that modern science differs from ancient science in placing all its solicitude in observation , and rigorously excluding everything but fact . Men often talk in this way at meetings of the British Association , and on the platforms of lecture rooms , but no competent persons think it . Those , however , who neither say nor think it , would hesitate before accepting M . Mokin ' s conclusion that we must either declare science absolutely separated from all metaphysics , or else restrict it to the bare
observation and enumeration of facts . He explains how ancient science was guided by metaphysics , how the Ptolemaic system of astronomy was inseparable from the metaphysical conception of " substantial forms , " could not be overthrown till that conception was displaced ; he explains how the ancients did not neglect observation of the study of facts , more than the moderns ; and having shown that ancient physics depended on metaphysics , he concludes that modern physics also depends on modern metaphysics ; and that the present condition is only transitional , awaiting the proper elaboration of the metaphysical idea of force . It would lead us too far to discuss the various points of M . Morin ' s essay , but we may sum up our main objection in a sentence . The difference between the
Metaphysical and the Positive Methods is , not that the one employs Eeason and the other Observation only , but that the hypothesis which the metaphysician employs as a reality , the positivist employs as an artifice ; on a basis of fact both build ; but the metaphysician ekes out observation by the produce of his own thought , and believes in the equal validity of the two ; the positivist does not believe the interpretation of equal validity with the fact , but uses it as a provisional explanation which subsequent observation may verify . In a word , the peculiar character of modern science is that it insists on the verification of every fact , hypothesis , or law ; whatever is not verified is held as provisional . A single illustration will suffice . Several persons gently lay their hands upon a table without pushing it , and the table moves round . Such is the fact . A metaphysician desiring to explain this fact , declares it
is produced by Spirits , or by Electricity . The positivist demands that this shall be verified . Not accepting the validity of a mere hypothesis , he insists , first that the presence of Spirits or electricity "be proved ; next , that the action of Spirits or electricity on a table is such as to make it move round . The metaphysician hears these demands with scorn . He is content with his hypothesis because it explains the fact . The idea of verification has never entered his head . He is content with reasoning ; but , as Bacon profoundly says , such explanations are valueless , for the subtlety of nature greatly exceeds the subtlety of argument—subtilitas naturcc subtilitatem argumentandi multis partibus superat ; sed axiomata a parlicularibus rite et ordiue abstracta ? iova particularia rursus facile indicant et designant ; and it is these " new particulars" which form the links in the chain of causation .
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The photographic portraits of " Living Celebrities" which Messrs . Mauli . and Poi . yiji ., ank . are publishing , will include , apparently , the most various types . After Professor Owen and T . IB . Macau lav , we have now Robkbt Sxephknson and J . A . Roeiiuck . Physiognomists and phrenologists will be delighted with the solid sagacity of the great engineer ' s head , his large perceptives , and his resolute look . The Reformer ' s somewhat querulous doggedness , rendered pathetic by the evident traces of feeblo health , looks out from this photograph with unmistakable verity . Wo must , however , once more complain of the poorness of the biographical notices which accompany these portraits .
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CHARLES READE'S NEW NOVEL . It is Never too Late to Mend : a Matter of Fact Romance . By Charles Reade , Author of " Christie Johnstone , " &c . 3 vols . Bentley . This ' matter of fact Romance' has many qualities which will fix the attention of novel-readers , and , above all , it has the qualityi | bf readableness . Without being peculiarly fastidious , the reader will frequently be annoyed by certain defects of matter and manner , but even the most fastidious will go through the three volumes interested , sometimes excited . Mr . Reade has rightly judged that subjects such as prison-life , and life in the Australian settlements and diggings , afford the roinancist abundant material of lie has dramatized
what is at once intensely real and terribly startling , a Bluebook on the prisons ; and his readers will perfectly well remember the horror with , which the exposure of the cruelties and stupidities practised in the Birmingham gaol was received a little while ago , after the benevolent Captain JVlaconocchie was superseded by another governor , less benevolent and less wise ; but most readers will at the same time perceive that , in the dramatizing of these terribly real practices , the author has been guilty . of exaggeration as injudicious as it is painful . He has repeated the character of Legree . He has painted unmixed , unmitigated villttny , and the black colours have been laid on with a trowel , not a brush . Indumatiofecit iibrum
—lie has been too indignant to draw steadily , he has been too angry to see clearly . The horrors of Birmingham gaol required nothing but simple statement to arouse the reader ' s indignation ; but in this novel we see the writer in a passion—excusable as passion , but inexcusable as art . This is the more to be regretted because the scenes of prison-life have strange fascination , and iu many respects are painted with strange power . Mr . Hawes is too gratuitously diabolical , and Mr . Eden too romantically perfect ; neither of them is ' a human being , yet they keep the . interest for ever on the stretch . Mr . Reade ' s object is to excite unmitigated horror for tho silent system , and ho succeeds ; but having an object beyond that of simply thrilling novel-readers , he will loam to regret that his advocacy should so much have damaged his cause by its violence and its exaggeration . basis
The scenes in Australia , and at the diggings , have doubtless a solid in fact , and even if greatly exaggerated , the exaggeration belongs to romance , and will do no harm . The Berkshire farmer ' s first experiences of the settlement are touchingly told , and so also are the relapses of the penitent thief , and his difficulties in getting buck into lionest ways of life . Tho adventures in tho diggings are full of excitement—tho perils and escapes , tho villany and tho virtue , tho ups and downs are so managed that we read on with unflagging interest , if with slight belief . It is a romance , and the romance-writer uses his privileges . Probabilities tire not to be asked of him , only interest , and interest he gives . Although as a matter of excitement tho scenes in nrison and at tho digginga surpass tho quieter scenes of rural life with which the novel opens , wo greatly prefer tho quieter scones . Nothing can bo older than the
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——^ Critics are not the legislators , but the judges and police of literature . They do not make laws—they interpret and try to enforce them . — Edinburgh Review . «
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The American expeditions in search of Sir John Fkanklin were noble acts on the part of our sister country , and America scorns determined that the expedition shall not have been altogether fruitless . The second expedition—during the years 1853 , ' , ' 54 , ' 55—furnishes a splendid work which Dr . Kane hus written , and which Messrs . TuuiiNicn are about to publish , in two richly illustrated volumes . A casual glance at these illustrations has excited our curiosity about the work itself , in which wo anticipate a rare combination of romance and science , of adventure and observation .
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Last week wo spoko of tho increasing seriousness with which Shakspeabe is now appreciated in France , and tho bost example of this is . before us in tho shape of a translation of the Poems nud Sonnets by M . Erne 6 T Lafoni > .
In England , we are accustomed to make merry with French translations ; not without cause . But M . Lafond has produced a translation which , for accuracy and elegance may stand beside the German translations , allowance being made for the difference of the two languages . He has printed the original at the bottom of the page that his accuracy may be severely tested . We will quote one sonnet , literally opening the volume at random : — Fatigue * de courir , je me couche en mon lit , Ce doux champ de repos pour 1 'hoinme de tout age : Mais dans ma tete alors je commence un voyage Et fais apres mon corps travailler mon esprit . Car mes pensers , actifs it quitter mon re'duit , Entreprennent vers vous leur cher pelerinage ; Je tiens mes yeux ouverts pour pouvoir au passage DeYober quelque chose aux ombres de la nuit . Heureux ! quand j ' apercois , par les yeux de mon ame , Votre forme apparaitre aux plis de mon rideau , Et dans l ' obscurite briller comme un joyau ! La nuit est belle alors ; mais vous voyez , madame , Qu'il n'est point de repos , au dedans , au dehors , Ni la nuit le jour , pour mon ame ou mon corps . Weary with toil , I haste me to my bed , The dear repose for limbs with travel tir'd ; But then begins a journey in my head , To work rny mind , when body ' s work ' s expir'd . For then my thoughts ( from far where I abide ) Intend a zealous pilgrimage to tb . ee , And keep my drooping eyelids open wide , Looking on darkness which the blind do see : Save that my soul ' s imaginary sight Presents thy shadow to my sightless view , "Which , like a jewel hung in ghastly night , Makes black night beauteous , and her old face new . Lo , thus , by day my limbs , by night my mind , For thee , and for myself , no quiet find . A close comparison will detect in this the weaknesses inevitable in translation ; for how could the same felicities be preserved in a different form ? For example : — And keep my drooping eyelids open wide , Looking on darkness which the blind do see , is weakly paraphrased : — Je tiens mes yeux ouverts pour pouvoir au passage DeVober quelque chose aux ombres de la nuit . And further , les yeux de mon ame do not reproduce the force of " my soul ' s imaginary sight . " When , however , we reflect on the differences of the French and English languages and poetry , and remember that the translator has the exigencies of rhyme to observe , we shall admit the translation to be singularly successful .
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August 23 , 1856 . ] THE IEADE 1 L 809
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Leader (1850-1860), Aug. 23, 1856, page 809, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2155/page/17/
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