REVIEW OF NEW BOOKS. Ned Myers; or a Life Before the Mast. Edited by J. Feni- | shipped as a common sailor, and took upon himself, volunmore Cooper: Lea & Blanchard, Philadelphia. tarily, all the privations and troubles inseparable from such a life. Still, it was voluntary, and, at any moment, might have been relinquished, if found insupportable. Ned Myers, on the other hand, gives us, through Mr. Cooper, the involuntary and inevitable trials of the uncultivated Jack Tar, with his reflections and comments-perhaps neither profound nor philosophical-but striking and deeply entertaining from their freshness, naturalness and naiveté. We have not read a book more to our taste for some years. It abounds in all those thrilling positions for which the life of those who "go down to the sea in ships" is noted; but, after all, its chief charm lies in the detail of the every-day matters of the homelinesses-of the seafaring existence. If we mistake not, it will be the most popular book of the We can only recommend it, cordially, to our readers as it is not of a character to call for any thing in the way of critical comment. season. Orion: An Epic Poem, in Three Books. By R. H. Horne: The words "edited by J. Fenimore Cooper," in the titlepage of this volume, have, no doubt, a suspicious appearance. It has been the fashion, of late days, for authors to speak of themselves, modestly, as editors of even original works. We all remember the magnificent "Recollections of a Chaperon," edited by Lady Dacre-and then (a case more in point just now) there was the "Narrative of Sir Edward Seaward," edited by Miss Porter-a work of far deeper interest, and of far more vraisemblant character than even "Robinson Crusoe," upon which it is modeled. The merit of originality is, of course, De Foe's, and Miss Porter is but an imitator at best; but, setting aside all reference to the credit due the respective authors, and regarding only the two books, we should have no hesitation in saying that "Sir Edward Seaward's Narrative" is, in every respect, superior to "Robinson Crusoe." In the same manner "Arthur Gordon Pym"-another series of sea-adventures, purporting to be edited only by Mr. Poe, was in reality his own composition-the supposititious hero having existed in imagination alone. Bearing these, and other similar works, in mind, the reader will naturally be induced to suspect Mr. Cooper, who professes to edit "Ned Myers," of having, in fact, composed it himself. The editor's account of the book says that Ned Myers was an apprentice in a merchant vessel, on board which he, the editor, during the years 1806 and 1807, made his first sea voyage, with the view of acquiring some practical know-doubt, that of a man of genius; and we propose, in a future ledge of seamanship before entering the United States' Navy. Mr. Cooper was then a mere lad; and between himself and Myers a boys' intimacy grew up. At the close of the voyage the friends parted, and did not see each other again until 1809; then only for a brief period. It was not until 1833 that they met again; or, rather, at this time, they were, for half an hour, on board the same ship without actually meeting. A few months since, however, Ned, rightly imagining that the author of "The Pilot" must be his old shipmate, wrote him a letter to ascertain the truth. The correspondence produced a meeting, and the meeting a visit from Ned to the novelist. During this visit the old seaman related, in full, his many adventures on the ocean and elsewhere; and these adventures are now given to the world in book-form, without much embellishment, with no material alteration, and with all the minuteness of detail with which they were orally related. This is the statement made by Mr. Cooper himself, in a preface written with very unusual perspicuity: and there can be no doubt that the whole statement is a serious thing. The narrative is strictly true; and we look upon it as exceedingly interesting and valuable in many respects. By the general reader it will be more relished than even the late work of Mr. R. H. Dana, entitled, we believe, "A Year Before the Mast." In Mr. Dana's case we had the commentaries (often profound and philosophical) of an educated man, upon the vicissitudes of the ordinary sea We have received, from London, a copy of a very remarkable poem, entitled as above, but, as yet, have had opportunity only to glance at individual passages. We call the poem remarkable, on account of its boldness and originality, as well of conception as of execution. Some portions are particularly beautiful. Some are affected, even to the extreme of the burlesque. The work, however, is, beyond number, to give it a careful examination. At present, we There is a voice that floats upon the breeze Now, while he stands within the mountain's shade. The preface commences thus: "I have adopted the Greek mythological names throughout this poem, with a view of getting rid of commonizing associations." The book is also "remarkable" in a more earthy-in a pecuniary or business point of view. It was advertised to be sold for a farthing; and for a farthing it was sold. Three large editions were disposed of at this price. "A rush of buyers," says a letter now lying before us, "almost carried the publisher off his feet. The public fell into an especial ecstasy, and bought poetry in its sleep-a thing it very seldom does awake-and now the poet brings out his fourth edition for a shilling (which the public buys too, because it is not yet wide awake) and promises a fifth for half a crown in a few days." We must read and review "Orion"-that is certainbut who says that there is nothing new under the sun? When epics in three cantos are sold for a farthing, we scarcely know how to deny, in fact, that this is the era of cheap literature. Songs and Ballads. Grave and Gay. By Thomas Haynes Bayly. With a Memoir of the Author. One Volume. Philadelphia, Carey & Hart, 1844. It is a mistake to suppose that a good song-writer is necessarily a good poet. It is, perhaps, equally a mistake to suppose that a good poet will write a good song. And this follows from the differences between the true poem and the true song. In the one, imagination and sustained power are indispensable: in the other, little more is demanded than fancy, earnestness, unity and appropriateness of diction. The most voluminous song-writers in the English language have been incapable of composing long poems; and, though all the great master poets of the tongue have been the authors of songs, and of exquisite ones too, they seem to have written them, not because they were poets, but because, for the time, they ceased to be poets. This may, at first, appear paradoxical. But, when the sense in which we use the term poet is considered, the truth of our remark will be apparent. So far forth as a poet has the power of concentrating himself on the one single idea to be evolved in the song-of going at once to the theme of maintaining its unity throughout, and of fusing the words, as it were, with the sentiment or passion, so far forth he is capable of writing the song. But, as his peculiar mental discipline best fits him for another field, it is only occasionally that he essays the song, and not always that he succeeds. On the other hand, the mere song-writer can never be a poet, for he is destitute of the loftier qualities requisite in that walk. It was necessary to make these remarks in order to answer the constantly recurring question, "Why Thomas Haynes Bayly, though so popular a song-writer, could never compose a true poem?" We think we have given the answer. He had fancy, sweetness, a glowing soul, a fine choice of words, an ear for melody, and an intuitive perception of the themes best fitted to touch the popular heart. But he was destitute of imagination, of sustained power, of all the high attributes required in a Milton, a Shakspeare, or a Coleridge. He could sing sweetly in hedgerows and among blooming roses, but he had not the wing of the eagle to soar to heaven. The volume before us is the first collection of the songs of Mr. Bayly, made either in this country or in England. It contains all of his serious songs, and most of his comic divertisements. Many of the former are familiar "as household words" among all classes. "I never was a Favorite," "The Forsaken to the False One," "I cannot Dance Tonight," "Isle of Beauty, Fare Thee Well," "Oh No! We Never Mention Her," "I'm Saddest When I Sing," "The Rose that All are Praising," "She Never Blamed Him," "We Met," "Upon Thy Truth Relying," and "She Wore a Wreath of Roses," are a few of the choicest ballads, so well known that we need only refer to them. Most of them live in the memory, associated with the delightful voices of Mrs. Wood, Mrs. Bailey, Mrs. Watson, and of others, almost as entrancing, who are known only in their holy and secluded private circles. There are other ballads in the volume, less universally known, which we would willingly quote, but our limited space forbids this gratification to our readers and ourselves. One or two songs, however, we will transfer to our pages. Here is a delightful one YOU REMEMBER IT-DO N'T YOU? You remember the time when I first sought your home, Yes, yes, of all this the remembrance will last You remember the grief that grew lighter when shared You will think of it-wont you? We make room for one more-sad as the other was gay : Without thy soothing love: My fond affection thou hast seen, To think more happy thou hadst been And has that thought been shared by thee? Than labored words can speak. The merit of these ballads consists in their unity, simplicity, fancy, and earnestness, as also in the delicacy of the sentiment, and the skill with which it is evolved. Many of the comic pieces, which we can call by no better name than that of divertisements, are excellent in their way; but such trifles have not the slightest claims to more than a passing word, since almost every educated man, with the least sense of the ridiculous, can throw them off with ease. It may not be amiss to state that Mr. Bayly was originally a gentleman of fortune, writing for his own amusement, but that subsequently, on his beggary in 1831, he became the most indefatigable of authors; and it was after his insolvency, and under the pressure of want, that he produced some of his best ballads. He died in 1839, worn out by toil and misfortune, being then only in his forty-third year. The compilation is, altogether, highly creditable to the editor, the Rev. R. W. Griswold. The volume is handsomely printed, and bound with taste. A portrait of an exquisite female face embellishes the book. The Dream of a Day and Other Poems. By James G. Percival: One olume: S. Babcock, New Haven: M. H. Neuman, 199 Broadway, New York. After a silence of sixteen years, Mr. Percival has again appeared before the public in a volume of poems. The present collection is named after one of his latest pieces (a composition of no great length or unusual merit) and embraces more than a hundred short poems and songs, part of which have appeared in a fugitive form, while others are now first printed from the author's manuscript. Our narrow limits this month preclude any notice of these poems in detail. We must content ourselves with a few general remarks. The songs and classic melodies, with a few fugitive pieces we could select, are the best portions of the book. In the classic melodies Mr. Percival has imitated the principal measures of the Greeks, an enterprise for which he is peculiarly fitted by his thorough knowledge of their poets, as well as by his command of the English tongue. He has obviously taken more pains with these imitations than usually characterizes him; for Mr. Percival is, perhaps, the most careless versifier and inartistical poet in America. As imitations, therefore, these classic melodies deserve high praise, and some of them are good even as poems; but generally the measures are unfitted to our language, and, though they may please a scholar, can never be popular. The songs are from Spanish and Italian measures, most of which have been long introduced into our poetry: they do not, therefore, strike the ear as strange or foreign, qualities which, we are prepared to prove, are fatal to a song. Many of the fugitive pieces are very fine. Here the poet displays the character and force of his own genius, untrammeled by the shackles of the imitator or translator. Here we see his prodigal fancy, his command of language, his versatility, his enthusiasm, and his love of nature. Here, too, we see his faults-crowded imagery, immature conceptions, haste and slovenliness, for we can call it nothing less. What poet, for instance, ought to forgive himself for verses like these? "Evening came on apace-in full orbed glory; The sun drew to his couch-thro' vista'd trees We might quote many examples of equal carelessness. But let us do justice to Mr Percival. His faults arise from want of labor, while he has, by nature, the attributes of a great poet. Wood Notes Wild: By Mrs. R. J. Avery, of Tennessee. One volume, 12mo. Nashville, Cameron & Fall, 1843. A collection of readable verses, with a lively and piquant preface which shows the authoress to be a fair prose writer as well as a poet. It is the second original work which the ladies of Tennessee have sent us during the year by the hands of our gallant friend Billings. Drawing Room Annual for 1844. Philadelphia, Lindsay & Blackistone. This is one of the largest annuals of the season, embellished with handsome engravings. The letter-press and binding are good. It is issued at the low price of three dollars, and would make an elegant present for a lady during the holiday season. The Opal: Edited by N. P. Willis, with illustrations by Chapman. J. C. Riker, N. Y., 1844. The editing of this annual, notwithstanding the titlepage, was done, in the main, by R. W. Griswold, but through misunderstanding with the publisher, was finished by N. P. Willis. Some of the engravings are handsome, and others quite ordinary. The letter-press is very fine, and the work is beautifully bound. The volume will be an ornament on the centre-table of any purchaser, for, apart from the defects of some of the illustrations, the work is beautifully got up, and contains some of the finest articles that are to be found in any of the annuals of the year. The ablest article we have read in it, is the " Triumph of Christianity," by H. W. Herbert, Esq. OUR TABLE. The prolific press of the Harpers has sent out a swarm of new works since our last, the most popular of which is the " Mysteries of Paris," a work deserving of a more extended notice than we have room for this month. We shall notice it at large hereafter. They have also sent us, number one hundred and fifty-nine of the "Family Library," containing "Perilous Adventures," by Davenport, Also, number six of "Hannah More," and "M'Culloch's Gazetteer." Also, "Narrative of the Adventures of Mon sieur Violet in California, Sonora and Western Texas," written by Captain Marryat; but stolen bodily from Mr. Kendall of the New Orleans Picayune. Winchester has also issued an edition of the "Mysteries of Paris," in numbers, which is said to be the most perfect edition. To be candid, we have not had time to read it, but in a more extended review justice shall be done, as in "Graham" no hesitation is felt in expressing the truth. A. J. Rockafellar, 98 Chesnut Street, Philadelphia, has published a capital little American novel, by the author of Marion's Men, entitled "Paul Jones, a Tale of the Sea;" which is sold at a shilling each, or ten copies for one dollar, free of postage. "Ladies' Hand-book of Needlework," published by J. S. Redfield, New York, in six numbers, embracing Fancy Needle-work, Embroidery, Lace-work, Cutting, etc., is worthy the attention of our fair friends. It may be had of Cowperthwaite & Co., of this city. DESCRIPTION OF THE FASHIONS. FIG. 1.-The entirely new style of coats with standing collar-vests of buff cassimer-pants dark brown, with stripe. LADY'S EVENING DRESS. FIG. 2.-A dress of white satin, trimmed with rolants of broad white lace. Paletot of dark violet velvet, edged all round with sable; cape, collar, and loose long sleeve, all bordered with sable; the backs of the open sleeve being closed with a chain work of silk cord, tied at the bottom part with a naud and tassels. Head dress perfectly plain. PROMENADE DRESS. FIG. A dress of Pekin silk, dark blue; the entire dress is made perfectly plain, and fits close to the figure. Manteau of rich satin, of a dark fawn color, made rather shorter in length than the dress; the fronts and small cape are composed of velvet, edged with a narrow fulling of satin. The ends of the cape reach to about half way down the cloak; the ends being ornamented with long silk tassels of the same color as the satin; the velvet with which the cloak is trimmed being three shades darker than the satin. Bonnet of black velvet; the interior trimmed with nauds of orange satin ribbon; the exterior with black lace, and a garland of roses. CARRIAGE DRESS. FIG. 4.-A dress composed of French orange satin; the skirt made very full, with plain high body and sleeves. Mantelet of green satin, bordered all round with a trimming piqu, having a raised effect; the two ends of this mantelet fall very low in front. Bonnet of white velours épinglé; the crown of the chapeau on the left side decorated with a small plume of ostrich tips, and on the right with a fanciful trimming of the same material, edged round with a narrow white blonde falling partly on the front, and low on the side; this trimming forms also the bavolet, or curtain, at the back. No trimming is worn in the interior of the bonnet. NEW CONTRIBUTORS.- Our new contributors for the January number are, Oliver Wendell Holmes, the most accomplished humorous poet of the country, and a well-known English lady-writer, the Countess of Blessington. Nothing that money can do shall be spared to maintain the high literary reputation Graham's Magazine has acquired both in this country and in Europe. Our finest articles are copied abroad each month with high praise, and occasionally stolen without credit. |