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Ctr? Srtjs.
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^rogtt0a tlie people.
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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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It must have teen really the scent ; for it was no more like the sensation from taste than from colour or sound . I was presently tired of it . But I was rather shocked to find myself reckoning on my dinner , —a great , late dinner that I was going to . I might have spared my anticipations ; for hy that time , everything on my plate had become as tasteless as ever . " Other quotable passages we must leave for future use in our " Notes and Extracts , " contenting ourselves for the present with this new light thrown upon Ghosts , which is one of those things when said for the first time raise astonishment at theiT never having been said before . " When a Ghost appears on horseback and in armour , " Mr . Atkinson remarks , " we must conclude the horse and armour to have ghosts as well as men . "
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BOOKS ON OUR TABLE . The Mighty Curative Powers of Mesmerism , proved in upwards of One Hundred and Fifty Gates of Vanoui Diseases . By Thomas Capern , Secretary and Resident Superintendent of the Mesmeric Infirmary . Baillifire . Dr . J . A . Wilson , in his Harveian oration of 1850 , begs to be allowed not to mention mesmerism , " out of sheer disgust , out of modesty , out of my reverence for religion . ' " That is one way of meeting error certainly ; and one often found useful . But , surely , if mesmerism be such a mass of errors it can be refuted in the ordinary way ? The mesmeric theories and "higher phenomena" are doubtless still open to much question ; but to dispute the facts upon theoretical grounds is to agree like that Frenchman , who when told that the facts were all contrary to his system , replied , " tantpis pour lesfaits ! so much the worse for the facts ! " The present volume is purely a record of cases . Whether produced by mesmerism , by imagination , or by the curative power of nature , the cases are curious and invite inspection as they are all fully authenticated . Mr . Thomas Capern states that having devoted his time to healing the sick by means of mesmerism , he was subject to abuse and insult even while returning from the sick chambers of those whom he had saved . He was called a maniac and a humbug . To clear himself he invited the whole of the clergy , dissenters , authorities of the town and gentry of the neighbourhood , and specially the medical practitioners to attend and investigate the
phenomena . Thirty persons cured by him related their cases to the meeting . A vote of thanks and expression of satisfaction was given to Mr . Capern , and from that day he has been less abused by his townsmen . He has in this volume recorded a great variety of cases . On the main subject we suspend judgment . Ready to adrni ' proof , we have not yet seen evidence to establish all the pretensions of mesmerism ; but abundant evidence to establish i's right to be seriously considered and ex amined . The facts remain , let theories shift as they may ; and all collections of such facts are to be welcomed . For ' his we welcome Mr . Capern ' s little volume . The Papal Catitrorerstj and the Position uf Dissenters . A Lecture , lly tr . A . ^} ine , M . A . Mall , Virtue , and Co . This is a contribution to the Papal Controversy , con ci ived with liberality and expressed with energy . Mr . Svme is one of those rising ministers who promise to exercise a useful influence on our times . The Friend of the People . E . lited by G . J . Ilarney . This periodical lias added to its political attractions valuable chapters from the best of George Sands' novels — Consnelo . Leisure Moments . Edited by II . J . Culvcrwell , M . D . No . 12 . New St'iieB . This in a periodical devoted to lively articles on health and popular instruction , oiversifii d by agreeable liairativtsol public events . " Our English Universities" and " Mr . M' » cr « 'i } dy ' s Last Night" are articles in this number of garrulous interest . SecU and Sectaries . A" Oration , liy Samuel Phillipx Day . Ti ut ; love . The author Of this pamphlet was formerly a Monk of the Order of Presentation , and having " come out from among tlu'm" is able to apeak experimentally upon both bides of the question . His " Oration" is an evidence that if Catholicism increases , its disciple , Jiatioiiulium , also makes its converts .
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« . ON THE FAME OF ACTORS . It is thought a hardship that great actors in quitting the stage can leave no monument more solid than a name . The painter leaves behind him picture * to attest his power ; the author leaves behind him books ; the actor leaves only a tradition . The curtain falls—the artist is annihilated . Succeeding generations may be told of his genius ; none can test it . All this I take to be a most misplaced sorrow . With the best wishes in the world I cannot bring myself to place the Actor on a level with , the Painter or the Author , I cannot concede to the Actor such a parity of intellectual greatness ; while , at the same time , I am forced to remember that , with inferior abilities , he secures far greater reward , both , of pudding and praise . It is not difficult to assign the causes of an Actor ' s superior reward , both in noisy reputation and in solid guineas . He amuses . He amuses more than the most amusing author . And our luxuries always cost us more than our necessities . Taghoni or Carlotta were better paid than Edmund Kean or MacreadVi Jenny Lind better than both , put
together . But while tne dramatic artist appeals to a larger audience , arid , moves them more forcibly than either Painter or , Author , owing to the very nature of hts art ,-a very slight acquaintance with acting and actors will suffice to show there can be no parity in the rank of a great Painter and a great Actor . Place Kean beside Caravaggio ( and , though I select the greatest actor I have known , I take a third-rate painter , not wishing to overpower the argument with , such names as Raphael , Miohel Angelo , Titian ) , and ask what comparison can be made of their intellectual qualihcations ? Or take Maoready and weig h , him in the scale with Bulwer or Dickens .
The truth , is , we exaggerate the talent of an Actor because we judge only from the effect he produces , without inquiring too curiously into the means . But , while the Painter has nothing but his canvass and the Author has nothing but white paper and printer ' s ink with , which to produce his effects , the Actor has all other arts as handmaids ; the Poet labours for him , creates his part , gives him his eloquence , his music , his imagery , his tenderness , his the
pathos , his sublimity ; the scene-painter aids him ; costumes , the lights , the music , all the fascination of the stage—all subserve the actor ' s effect : these raise him upon a pedestal ; remove them , and what is he ? He who can make a stage mob bend and sway with his eloquence , what could he do with a real mob , no poet by to prompt him ? He who can charm us with the stateliest imaeery of a noble mind , when rohed in the sables of Hamlet , or in the toga of Coriolanus , what can he do in coat and trousers on the world ' s
stage . Hub off the paint , and the eyes are no longer brilliant ! Reduce the Actor to his intrinsic value , and then weigh him with the rivals whom he surpas .-es in reputation and in fortune ! It my estimate of the intrinsic value of acting is lower than seems generally current , it is from no desire to disparage an art I have always loved , and one in which I have a personal ambition ; but from a desire t > state what seems to me the simple truth on the matter , and to ehow that the demand for posthumous fame is misplaced . Already the Actor gets more fame than he deserves , and we are culled upon to weep that he gets no more ! During his reign the applause which follows him exceeds in intensity that of all other claimants for public
approbation ; ho long us he lives he is an object of strong sympathy and interest ; and whori ho dies he loaves behind him nuch influence upon his art as his genius may have effected ( true fame !) and a monument to kindle the emulation of successors . Is not that enough ? Must he weep because other times will not see his acting ? Must we weep because all that energy , labour , genius , if you will , is ixo more than a tradition ? Folly ! In this crowded world how few there are who can leuve even a name , how rare those who leave more ! The Author eun be read by future iigcH ? Oh ! yen , he win be read : tin : books are preserved ; but is he read ? Who disturbs them from their repose upon the dusty shelves of silent I ibruricH ? What are the great men of former iigen , with rare , very rare , exceptions , but names to the world which shelves their well bound voluincH !
Unless Home one will tell me in sober gravity ( what is HoinetiinoM nbsurdly said in fulsome dinner . vpeeehen and foolish dedications ) that the Actor has a "kindred genius " with the l'oet , whose cr < uliniiHhc represents , and that in sheer intellectual calibre Kean and Macready were nearly on 11 par with fthakspenre , I do not nee what cause of complaint cnu exist in the Actor ' s not sharing the posthumous fame of a Shitkspeare . IIis fame , whilu he lives , HurptmneH that of almost all other men . Byron wuh not ko widely worshipped aH Kean . Luwrenee mid Northcote , Wilkie and Mulrcariy , what apace did they nil in the public eye compared with Young , Charles Kemble , or Miureiuly ? Surely thin renown is ample ! ii Macready share the regret o ( his friends , find if lio yearn lor posthumous fame , there i » yet ono i » Huo
for Mm to give the world assurance powers . Shakspeare is a good raft whereon to float securely down the stream of time ; fasten yourself to that and your immortality is safe . Now Shakspeare must have occupied more of Macready ' s time and thought than any other subject . Let fruits be given . Let us have from him an edition of Shakspeare bringing all his practical experience as an . a ctor to illustrate this the first of dramatists . We , want no more black letter We want no more hyperboles of admiration . We want the dramatic excellencies and defects illustrated and set forth . Will Macready undertake such , a task ? It would be a delig htful object to occupy his leisure " ; and it would settle the question as to his own intellectual claims . Vivian .
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Bourcicault ' s new comedy , Love in a Maze , was produced at the Princess's on Thursday night , and was very successful . We were prevented from seeing it , and must sit in judgment on it next week .
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DIORAMA OF THE HOLY LAND . We were admitted last Saturday to a private view of the new grand diorama at the New Water Colour Society , Pall-mall , setting forth the most remarkable features in the route of the Israelites from the Land of Goshen to Mount Sinai and thence to Jerusalem . Having shown us Jerusalem and the Shrine of the Nativity at Bethlehem , it takes us to the Mediterranean , passing Jaffa , Acre , Mount Carmel , Tyre and Sidon , and finally leaving us in Nazareth and Samaria .
. . ... Considering first the countless associations which , such places call up in the mind of every spectatorassociations biblical , historical , poetical , —considering also the great scenic beauty and grandeur of these places , we doubt whether any diorama yet presented to the public can surpass this in interest . The artists , Messrs . Henry Warren , J . Bonomi , and J . Fahey , the painters of the Nile , have executed their task in splendid style . The breadth and grandeur about some of the scenes amount to the sublime . A hot
sultry sun scorches the plains . The water has a cool dancing light ; the birds and animals are full of life and spirit ^ but almost uniformly out of proportion with the objects around them : birds of that gigantic size would need the presence of the actual rocks to throw them into proper proportion wiih the scene . The rock hewn city of Petraia one of the most siriking scenes in thi 3 diorama ; but all fade into insignificance beside the glorious view of the Holy City seen from the Mount of Olives .
One word of advice . It would add materially to the entertainment of the > e dioramas if the oral explanations were not suffered to wander into the veibi ;> ge and trivial information deemed necessary . This wearies the audience and prolongs the exhibition . A brief intimation of the various places , and their remarkable characteristics , stripped of all fine writing and idle statistics , would serve every purpose We mike the remark generally . The exhibitor of the Holy Land only happens to be the last whom we have seen thus wearying the audience ; and it needed all the very great interest of the pictures to make us endure his comments .
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J ' oems of Kuril / Years , in JVinc . Chaplets . ] l y ; i M ' r .-nifjlrr , of Trin . Coll . Cuinl ) . . M . A . V ! . I'ic . kerin ^ . The Nonconformist Sketch-Hm > k ; a Series if I'ietes of a Stale Church and iti attendant Evils , lty Kilwaiil IMiiill . Aylott . and Joiich . The History of the Last Trial by Jury fur Atheism in Kn / fltind : a l '' rau » u . nt oj slutobiogtaphy , submitted Jor thejieruntlojlter fllujesti /' i Altinrney-O ' eneral and the Jintult Clvryy . liy < ;<•<>!(;< : Jiu-ob ilolyoako . . J . iVuUon . Ji'lutrers of J ' ofsy : A Collection of i \ Iitj < : el ) uiieotti I ' ociiu . lty William Saltuairuh . I l .-ct and ^<> n . The Contrabandist * of Mineliead ; or Ninety l ' eai s I ' att . No . ' 2 . J . VV . ( iritiiiin . Consideration }! on the Law of Settlement and ltatinf > , and the He . lief of the Poor . JJy Lord Wul . iin ^ liam . Chuimittii mid Hall . The English Ilejniblic . God and the People ,. Kdiud l > y A \ . 8 , Ulltoll . J- WlllHOll . The Catholic Jlppeal . Don't Hum Us ! or , the State Church and the Catholics . liy L . 'i ' yiiniun . W . Hii an « t-. The H'hateArt of Chess and lhauyhts , with the Newly-mused jMwi / dfj \ f ^ w of Chess . l .. l ) i ;>|> l « . ¦ A ' amiffiKThings . ¦ 'A £ H £ lopc < iia of Kntertainiiiff Knowledge ; l > Vl ( JJjjJ ''?^ f Ufcui |») yp { rl -Fl > pul : » rly Arruiiffcil . No . < l . f UM < 3 $ kff / pn frtl ' tMtmNdMis cellany . JicJitcd liy Fritz un < l iftftfWl ! iji& ffi * jtiw £ Ti l $ ™ i '""* V- l ( >"""'"' (' "" VTri ^ TfffipWr / ftr V % TX tnr T' * - (! *" i " JJiirnn anil l , ainl > rrt . l ^ mitj ^ fjjj ^ ; jna $ ' $ . y i // ' < : Jntjiiniui and IIhJ ; .
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TO LIBERTY THROUGH EQUALITY . SPKKCII Or LOUIS HUNL " At . the Revolutionary Banquet , Highbury-barn , Feb 21 . If I were asked which is the word the most misused in our modern civilization , which has the bent served to disguise oppression , and tobaillc the despair of it « victims , I should answer — Liukrty . Behold two men , made ; , they way , after the iinnge of ( Jod , the one Belling life—yes , life itself—the other buying it : but let the liberty of transaction pants by ! Shyloek , bond and knife in hand , is going to cut out of the breast of his debtor , Antonio , the pound of flcMh , according to agreement : let the liberty of the capital pass by ! Competition piesents lifelong nature fin a rival to that nature which thinks , feels , and tuiffeiH ; the work of a living being , who dies from want of work , ih ii - pluced by that of an engine , which never thirsts or hungers : a winch is presented in lieu of the vanished man : let the liberty of industry paw * by ! The exchange in open : let tho liberty of stockjobbing pans by ! But let not that unhappy pale face invoke the < "oinpnnrtion of the padHcrn by ; let not that roofless proletaire full asleep on the pavement , endowed by two rows of empty palaces : in the liberty of minery t <> b < : for ever allowed to pass by ? () Liberty ! Liberty ! ( ioddesH of noble heart * ! how many tyranniea have not used , amply uued , thy Htiorun name to perpetrate their enormities ! It i » time to put : » n end to all theKO hypocrinicH - You tell me what , liberty in worth . 1 tmould like to know fir « t what , it in .
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Leader (1850-1860), March 8, 1851, page 228, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/l/issues/vm2-ncseproduct1873/page/16/
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