I should otherwise, for my own taste, have been inclined rather to have given a place to these extraordinary musicians at that banquet of nothing-less-than-sweet-sounds, imagined by old Jeremy Collier (Essays, 1698, part ii. on Music), where, after describing the inspiriting effects of martial music in a battle, he hazards an ingenious conjecture, whether a sort of anti-music might not be invented, which should have quite the contrary effect of "sinking the spirits, shaking the nerves, curdling the blood, and inspiring despair and cowardice and consternation. "Tis probable," he says, "the roaring of lions, the warbling of cats and screech-owls, together with a mixture of the howling of dogs, judiciously imitated and compounded, might go a great way in this invention." The dose, we confess, is pretty potent, and skilfully enough prepared. But what shall we say to the Ass of Silenus, who, if we may trust to classic lore, by his own proper sounds, without thanks to cat or screech-owl, dismayed and put to rout a whole army of giants? Here was anti-music with a vengeance; a whole Pan-Dis-Harmonicon in a single lungs of leather!

But I keep you trifling too long on this asinine subject. I have already passed the Pons Asinorum, and will desist, remembering the old pedantic pun of Jem Boyer, my schoolmaster,

“Ass in præsenti seldom makes a WISE MAN in futuro."

W

IN RE SQUIRRELS.

HAT is gone with the cages with the climbing squirrel, and bells to them, which were formerly the indispensable appendage to the outside of a tinman's shop, and were, in fact, the only live signs? One, we believe, still hangs out on Holborn; but they are fast vanishing with the good old modes of our ancestors. They seem to have been superseded by that still more ingenious refinement of modern humanity,-the tread-mill; in which human squir

rels still perform a similar round of ceaseless, improgressive clambering, which must be nuts to them.

We almost doubt the fact of the teeth of this creature being so purely orange-coloured as Mr. Urban's correspondent gives out. One of our old poets-and they were pretty sharp observers of Nature-describes them as brown. But perhaps the naturalist referred to meant "of the colour of a Maltese orange,' "* which is rather more obfuscated than your fruit of Seville or St. Michael's, and may help to reconcile the difference. We cannot speak from observation; but we remember at school getting our fingers into the orangery of one of these little gentry (not having a due caution of the traps set there), and the result proved sourer than lemons. The author of the "Task" somewhere speaks of their anger as being "insignificantly fierce;" but we found the demonstration of it on this occasion quite as significant as we desired, and have not been disposed since to look any of these "gift horses" in the mouth. Maiden aunts keep these "small deer," as they do parrots, to bite people's fingers, on purpose to give them good advice "not to adventure so near the cage another time." As for their "six quavers divided into three quavers and a dotted crotchet," I suppose they may go into Jeremy Bentham's next budget of fallacies, along with the "melodious and proportionable kinde of musicke" recorded, in your last number, of an highly-gifted animal.

Fletcher in the Faithful Shepherdess." The satyr offers to

Clorin

"Grapes whose lusty blood

Is the learned poet's good,-
Sweeter yet did never crown

The head of Bacchus; nuts more brown
Than the squirrels' teeth that crack them."

ESTIMATE OF DE FOE'S SECONDARY NOVELS.

IT

T has happened not seldom that one work of some author has so transcendently surpassed in execution the rest of his compositions, that the world has agreed to pass a sentence of dismissal upon the latter, and to consign them to total neglect and oblivion. It has done wisely in this not to suffer the contemplation of excellences of a lower standard to abate or stand in the way of the pleasure it has agreed to receive from the masterpiece.

Again: it has happened, that from no inferior merit of execution in the rest, but from superior good fortune in the choice of its subject, some single work shall have been suffered to eclipse and cast into shade the deserts of its less fortunate brethren. This has been done with more or less injustice in the case of the popular allegory of Bunyan, in which the beautiful and scriptural image of a pilgrim or wayfarer (we are all such upon earth), addressing itself intelligibly and feelingly to the bosoms of all, has silenced, and made almost to be forgotten, the more awful and scarcely less tender beauties of the "Holy War made by Shaddai upon Diabolus," of the same author,—a romance less happy in its subject, but surely well worthy of a secondary immortality. But in no instance has this excluding partiality been exerted with more unfairness than against what may be termed the secondary novels or romances of De Foe.

While all ages and descriptions of people hang delighted over the "Adventures of Robinson Crusoe," and shall continue to do so, we trust, while the world lasts, how few comparatively will bear to be told that there exist other fictitious narratives by the same writer,-four of them at least of no inferior interest, except what results from a less felicitous choice of situation! 66 Roxana," "Singleton," "Moll Flanders," "Colonel Jack," are all genuine offspring of the same father. They bear the veritable impress of De Foe. An unpractised midwife that would not swear to the

nose, lip, forehead, and eye of every one of them! They are, in their way, as full of incident, and some of them every bit as romantic; only they want the uninhabited island, and the charm that has bewitched the world, of the striking solitary situation.

But are there no solitudes out of the cave and the desert? or cannot the heart in the midst of crowds feel frightfully alone? Singleton on the world of waters, prowling about with pirates less merciful than the creatures of any howling wilderness,-is he not alone, with the faces of men about him, but without a guide that can conduct him through the mists of educational and habitual ignorance, or a fellow-heart that can interpret to him the new-born yearnings and aspirations of unpractised penitence? Or when the boy Colonel Jack, in the loneliness of the heart (the worst solitude), goes to hide his ill-purchased treasure in the hollow tree by night, and miraculously loses, and miraculously finds it again,-whom hath he there to sym pathize with him? or of what sort are his associates?

The narrative manner of De Foe has a naturalness about it beyond that of any other novel or romance writer. His fictions have all the air of true stories. It is impossible to believe, while you are reading them, that a real person is not narrating to you everywhere nothing but what really happened to himself. To this the extreme homeliness of their style mainly contributes. We use the word in its best and heartiest sense, that which comes home to the reader. The narrators everywhere are chosen from low life, or have had their origin in it: therefore they tell their own tales (Mr. Coleridge has anticipated us in this remark), as persons in their degree are observed to do, with infinite repetition, and an overacted exactness, lest the hearer should not have minded, or have forgotten, some things that had been told before. Hence the emphatic sentences marked in the good old (but deserted) Italic type; and hence, too, the frequent interposition of the reminding old colloquial parenthesis, "I say," "Mind," and the like, when the story-teller repeats what, to a practised reader, might appear to have been sufficiently insisted upon

before which made an ingenious critic observe, that his works, in this kind, were excellent reading for the kitchen. And, in truth, the heroes and heroines of De Foe can never again hope to be popular with a much higher class of readers than that of the servant-maid or the sailor. Crusoe keeps its rank only by tough prescription. Singleton, the pirate; Colonel Jack, the thief; Moll Flanders, both thief and harlot; Roxana, harlot and something worse,—would be startling ingredients in the bill of fare of modern literary delicacies. But, then, what pirates, what thieves, and what harlots, is the thief, the harlot, and the pirate of De Foe! We would not hesitate to say, that in no other book of fiction, where the lives of such characters are described, is guilt and delinquency made less seductive, or the suffering made more closely to follow the commission, or the penitence more earnest or more bleeding, or the intervening flashes of religious visitation upon the rude and uninstructed soul more meltingly and fearfully painted. They, in this, come near to the tenderness of Bunyan; while the livelier pictures and incidents in them, as in Hogarth or in Fielding, tend to diminish that fastidiousness to the concerns and pursuits of common life which an unrestrained passion for the ideal and the sentimental is in danger of producing.

A

POSTSCRIPT TO THE " CHAPTER ON EARS."

WRITER, whose real name, it seems, is Boldero, but who has been entertaining the town for the last twelve months with some very pleasant lucubrations under the assumed signature of Leigh Hunt,* in his "Indicator" of the 31st January last has thought fit to insinuate that I, Elia, do not write the little sketches which bear my signature in this magazine, but that the true author of them is

Clearly a fictitious appellation; for, if we admit the latter of these names to be in a manner English, what is Leigh? Christian nomenclature knows no such.