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    efforts , until they work this change in the minds of the many , that they shall regard appeals to physical force as worthy bulldogs rather than men . But such pictures as these , indeed almost all pictures , may be converted into impressive lessons for the y oung , provided they have those about them who will read the lesson aright . Come here , little fellow , you who have the

    longing for a cap and feather , a scarlet jacket , and a love of martial music , your head already filled with admiration of ' the pomp and circumstance of g lorious war ; ' you who watch so eagerly the glancing helmets , glittering arms , and gallant steeds of the Guards as they move in measured pace along the streets , or in the parks on some sunshiny morning , —come hitlier and see to what your admiration tends : —brother fighting against brother ;

    shouts of vengeance ; shrieks of agony ; blood drawn by weapons in human hands , flowing like water from human hearts ; hands and hearts that once were like your own , youngs guileless , springing with a power yet undirected , ( what is your own longing but the result of fine energy unemployed , ) craving for action , listening eagerly to stories telling of gallant deeds ; listening to those with whom fate had linked them , whose * gallant deeds' were the deeds of the million murderers . ' Think of them as they were ;

    look at them as they are . It is well ; the fire which the thought of ' deeds of arms * had kindled within you is quenched for ever by so much blood . The destruction of the Mamelukes by Moh * amed Ali Pacha , viceroy of Egypt , painted by Horace V ernet , 11 ' £ « r L . i t J L x - is even more repelling , inasmuch as it represents the destruction of human life by the treachery of a despot , rather than in the open battle field . The history is familiar . The moment of time chosen is that when the Mamelukes have assembled in all their

    state within the castle walls of Cairo , by order of the pacha , to attend a ceremony in honour of one of his sons . The gates are closed , and on the instant , from the ramparts , from the towers , from the windows , a tremendous fire is showehed upon them by the soldier slaves of the pacha . You see them in the court-yard below , struggling in an ocean of smoke , as did the drowning Egyptians in the waves of the Red Sea : horses plunging , men

    reeling in their saddles ; hands , and we had almost said , voices , uplifted in imprecation on the head of the destroyer , who is seated on a rampart , where , unseen by them , he may yet listen to the agony and death of his victims . Behind him are two favourite attendants , mute , stern , and motionless . To the right a group of Albanians , firing away like human steam guns , so quick , so

    vigorous appear the movements directed against the thickly pent stru ggling mass of human beings below . The action , the colouring , the accompaniments , are all worth y the painter ' s high fame , all except the pacha himself , an exception nearly as bad as f the tragedy without Haralet . ' Was the act one for the promotion of his country ^ good ? ( tyrants make strange excuses to themselves

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    56 The Luxembourg .

• Citation
  • Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), Jan. 2, 1834, page 56, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct2629/page/58/