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the forehead, with a cauliflower growth on
either side. To this pattern the artists would,
if they could, reduce all creation. Their opin-
ion upon the graceful flow of the hair is to be
found in that utmost effort of their science -
the wig we mean the upstart sham so
styled. Was there ever such a hideous, arti-
ficial, gentish-looking thing as the George-the
Fourthian peruke - "half in storm, half in
calm-patted down over the left temple, like
a frothy cup one blows on to cool it ?"— Its
painfully white net parting, and its painfully
We scarcely ever
tight little curls, haunt us.
see that type now in its full original horror-
but bad is the best. It seems, at first thought,
very odd that they cannot make a decent imi-
tation of a head of hair. People forge old
letters, even to the imitation of the stains of
time and the fading of the ink; they copy a
flower until it will well-nigh entice a bee; but
who ever failed to discover a wig on the in-
stant? Its nasty, hard scalp-line against the
forehead gives a positive shock to any person
possessing nervous susceptibility. Surely
something might be done. Nothing can ever
be expected, however, to come quite up to that
beautiful setting on of the hair which nature
shows us ; for, as a writer in a former number
and we may be allowed
of this Review says
add, says beautifully because the pen is
now well known to have been held by femi-
nine fingers-

skin beneath with delightful effect. Painters | certain extent their prevailing formula, or particularly affect this picturesque falling of rather the hairdressers have, of arranging the the hair, and it is wonderful how it softens hair to wit, one great sprawling wave across the face, and gives archness to the eyes, which peep out as it were between their own natural trellis-work or jalousies. We own to a love of the soft glossy ringlets which dally and toy with the light on their airy curves, and dance with every motion of the body. There is something exceedingly feminine and gentle in them, we think, which makes them inore fitted for But general adoption than any other style. most of all to be admired for a noble, generous countenance, is that compromise between the severe-looking" band" and the flowing ringlet, in which the hair, in twisting coils of flossy silk, is allowed to fall from the forehead in a delicate sweep round that part of the cheek where it melts into the neck, and is then gathered up into a single shell-like convolution behind. The Greeks were particularly fond of this arrangement in their sculpture, because it repeated the facial outline and displayed the head to perfection. Some naturally pretty women, following the lead of the strongminded high-templed sisterhood, are in the habit of sweeping their hair at a very ugly angle off the brow, so as to show a tower of forehead and, as they suppose, produce an overawing impression. This is a sad mistake. Corinna, supreme in taste as in genius and beauty, knows better. The Greeks threw all the commanding dignity into the xiguußos-to or bow-like ornament. We all admire this in the Diana of the British Museum. It was, however, used indifferently for both sexes the Apollo Belvedere is crowned in the same manner. The ancients were never guilty of thinking a vast display of forehead beautiful in woman, or that it was in fact at all imposing in appearance - they invariably set the hair on low, and would have stared with horror at the atrocious practice of shaving it at the parting, adopted by some people to give Again, art can never match even the color of height to the brow. We do not mean to lay the hair to the complexion and the temperadown any absolute rule, however, even in this ment of the individual. Did any one ever see particular; the individuality which exists in a man with a head of hair of his own growing every person's hair, as much as in their faces, that did not suit him? On the other hand, should be allowed to assert itself, and the was there ever seen a wig that seemed a part dead level of bands should never be permitted of the man? The infinite variety of Nature in to extinguish the natural difference between managing the coiffure is unapproachable. One the tresses of brown Dolores-"blue-black, man's hair she tosses up in a sea of curls; lustrous, thick as horsehair" -- and the Greek another's she smoothes down to the meekness islanders' hair like sea-moss, that Alciphron of a maid's; a third's she flames up, like a speaks of. Least of all is such an abomina- conflagration; a fourth's she seems to have tion as "fixature" allowable for one moment crystallized, each hair thwarting and crossing he must have been a bold bad man indeed, its neighbor, like a mass of needles; to a fifth who first circulated the means of solidifying she imparts that sweet and graceful flow the soft and yielding hair of woman. which F. Grant and all other feeling painters do their best to copy. In color and texture, again, she is equally excellent; each flesh

There is much more individuality in the treatment of gentlemen's hair, simply because most of them leave it more alone, and allow Nature to take her course; nevertheless, the lords of the earth, like the ladies, have to a

hair

It is the exquisite line along the roots of the the graceful undulations of the shores of the head, thus given to sight, with which we are fascinated. Here the skin is invariably found finer, and the color tenderer, than any other part of the human face - like the smooth, pure sands, where the tide has just retired.*

*See Essays by the Authoress of Letters from the Baltic, lately collected as Reading for the Rail.

tint has its agreeing shade and character of hair, which if a man departs from, he disguises himself. What a standing protest is the sandy whisker to the glossy black peruke! Again, how contradictory and withered a worn old face looks, whose shaggy white eyebrows are crowned by chestnut curling locks! It reminds us of a style of drawing in vogue with ladies some years since, in which a bright colored haymaker is seen at work in a cold, blacklead pencil landscape.

66

Of the modern beard and whisker we desire to write respectfully. A mutton chop seems to have suggested the form of the substantial British whisker. Out of this simple design countless varieties of forms have arisen. How have they arisen? Can any one give an account of his own whiskers from their birth upwards? To our mind there is nothing more mysterious than the growth of this manly appendage. Did any far-seeing youth deliberately design his own whisker? Was there ever known a hobbledehoy who saw a great future" in his silken down, and determined to train it in the way it should go? We think not. British whiskers, in truth, have grown up like all the great institutions of the country, noiselessly and persistentlyan outward expression, as the Germans would say, of the inner life of the people; the general idea allowing of infinite variety according to the individuality of the wearer. Let us take the next half-dozen men passing by the window as we write. The first has his whiskers tucked into the corners of his mouth, as though he were holding them up with his teeth. The second whisker that we descry has wandered into the middle of the cheek, and there stopped as though it did not know where to go to, like a youth who has ventured out into the middle of a ball-room with all eyes upon him. Yonder bunch of bristles (No. 3) twists the contrary way under the owner's ear; he could not for the life of him tell why it retrograded so. That fourth citizen with the vast Pacific of a face has little whiskers which seem to have stopped short after two inches of voyage, as though aghast at the prospect of having to double such a Cape Horn of a chin. We perceive coming a tremendous pair, running over the shirt-collar in luxuriant profusion. Yet we see as the colonel or general takes off his hat to that lady that he is quite bald-those whiskers are, in fact, nothing but a tremendous landslip from the

veteran's head!

Even in Europe, some skins seem to have no power of producing hair at all. Dark, thick-complexioned people are frequently quite destitute of either beard or whisker, and Nature now and then, as if to restore the balance, produces a hairy woman. A charming example was exhibiting a short time since in town. The description she gives of herself

in every particular we will not back, but here it is from the printed bill:

The public is most respectfully informed that Mad. FORTUNNE, one of the most curious phenomenons which ever appeared in Europe, has arrived in London, in the person of a young woman, 21 years of age, whose face, which is of beard as black as jet, about four inches in length. an extraordinary whiteness, is surrounded by a The beard is as thick and bushy as that of any

man.

Switzerland, and has received a most brilliant The young lady is a native of Geneva, in education. She speaks French fluently, and will answer all the questions that may be addressed to her. Her beard, which reaches from one eye to the other, perfectly encircles the face, forming the most surprising contrast, but without impairing its beauty. Her bust is most finely formed, and leaves not the least doubt as to her sex. She will approach all the persons who may honor her with their presence, and give an account of her origin and birth, and explain the motives which induced her to quit her country. Everybody will also be allowed to touch her beard, so as to be convinced that it is perfectly natural.

The beard was certainly a most glorious specimen, and shamed any man's that we have

ever seen.

The

for the nonce a quill from Esthonia-much Of the expression of hair- - could we press Greeks, with their usual subtilty in reading might be well and edifyingly said. Nature, and interpreting her in their works of Art, have distinguished their gods by the variations of this excrescence. of the Phidian Jove in the Vatican, which rises Thus the hair in spouts as it were from the forehead, and then falls in wavy curls, is like the mane of the lion, most majestic and imperial in appearance. The crisp curls of Hercules again remind us of the short locks between the horns of the indomitable bull; whilst the hair of Neptune falls down wet and dank like his own seaweed. The beautiful flowing locks of Apollo, full and free, represent perpetual youth; and the gentle, vagrant, bewitching tresses of Venus denote most clearly her peculiar characteristics and claims as a divinity of Olympus. What gives the loose and wanton air to the portraits Court? Duchess and Countess sweep along in Charles II.'s bedchamber at Hampton the canvas with all the dignity that Lely could flatter them with; but on the disordered curls and the forehead fringed_with_love-locks retired into the deep shade of the alcove, Cyprian is plainly written. Even Nell Gwyn, beckons us with her sweet soft redundance of ringlets. But too well woman knows the Power Venus has endowed her with in this

silken lasso :

Fair tresses man's imperial race ensnare,
And beauty draws us with a single hair.

In the rougher sex the temper and disposition | Mr. Tennyson's first sketch is, moreover, one are more apparent from the set of the hair of the penalties of the Laureateship. The than in woman, because, as already observed, mind of the free poet, who has been privileged they allow it to follow more the arrangement to act on the pure impulse of his will, must of nature. Curly hair bespeaks the sanguine need feel an inauspicious constraint when temperament, lank hair the phlegmatic. Poets urged to its office by the prescription of an for the most part, we believe, have had curly external occasion and will be perplexed hair-though our own age has exhibited some by the presence of a necessity which is not notable exceptions to the rule. Physiology that of its own inspiration. The Muse is a has not yet decided upon what the curl is spirit who will not be compelled; and Mr. dependent, but we feel satisfied it arises from Tennyson has found his profit in waiting till a flattening of one side of the hair more than she was ready to lend him her willing aid in the other. the task of revision.

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So well do people understand the character It would require an extensive collation of as expressed by the hair and its management, passages to point out the minute corrections that it is used as a kind of index. Commer- to be found in this new edition cial ideas are very exact respecting it. What remark and analysis touching the effect of chance would a gentleman with a moustache diction on the mind to measure their precise have of getting a situation in a bank? Even propriety; - but the reader who has no wish too much whisker is looked upon with sus- to be too metaphysical may practically put picion. A clean shave is usually, as the world himself into the way of judging of the matter goes, expected in persons aspiring to any post by re-perusing the poem in its present shape, of serious trust. We confess that few mon- and consciously remarking the different imstrosities in this line affect us more dismally pressions which it makes, though in substance than the combination of dandy favoris with it is the same poem. There are a completethe, however reduced, peruke of Brother ness and compactness, produced by what is Briefless or Brother Hardup. It is needless added and what is subtracted, that satisfy and to add that anything like hirsute luxuriance fill the imagination with a sense of harmony about a sacerdotal physiognomy is offensive to every orthodox admirer of the via media. -to all the Anglican community, it is probable, excepting some inveterate embroideresses of red and blue altar-cloths and tall curates' slippers.

From the Athenæum.

Ode on the Death of the Duke of Wellington.
By ALFRED TENNYSON, Poet-Laureate. A
New edition. Moxon.

MR. TENNYSON has suffered from the severity of the critics in their remarks on the first hasty edition of his laureate lyric to the memory of the "Great Duke;" and, as we had the means of informing our readers in our own view of the " Ode" that it was his intention to do, he has subjected his work to a thorough revision, and sought to make it more worthy at once of himself and of his subject. The poem in its amended state has much of that finish which the writer had not time in the pressure of the immediate occasion to communicate to the original draft. In this issue not only are there many passages added of great power and beauty, but such minute corrections are introduced into single lines as amount nearly to recomposition. All this may seem strange to those who have been accustomed to look on poetry as an inspiration rather than an art; but to the better instructed it will furnish a modern instance in corroboration of the Horatian maxim, that time and leisure are essential to the production of a perfect poem. The comparative failure of

that was previously wanting. In some cases there are a proportion and an artistic reserve indicated in the change of a mere epithet which makes all the difference in the world to the feeling. Thus, in the fifth line of the first Ode, there was the phrase

When laurel-garlanded heroes fall. The compound epithet was injurious to the simplicity proper to an exordium, and inju diciously anticipated the decorations befitting the body of the poem. Mr. Tennyson, therefore, now prints the line in question and its two predecessors and successors as follows:

Let us bury the Great Duke

To the noise of the mourning of a mighty nation,
Warriors carry the warrior's pall,
Mourning when their leaders fall,
And sorrow darkens hamlet and hall.

In the next stanza the poet supplies an omission in the first draft- that of the place of the hero's death:

He died on Walmer's lonely shore,
Where shall we lay the man whom we deplore?
But here, in streaming London's central roar,
Let the sound of those he wrought for,
And the feet of those he fought for,
Echo round his bones for evermore.

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tition so let it be with him in his death! | Beating from the wasted vines
"Hark! the trumpets. These are the ushers Back to France her banded swarms.
of Marcius; before him he carries noise, and
behind him he leaves tears." There is a
feeling finely appropriate and full of the true
warlike sentiment in the lines above cited,
and which the two verses now introduced, and
distinguished in our quotations by italics, serve
more fully to develop.

This word "banded" was "bandit" in

Its very

The great difficulty experienced by Mr. Tennyson in this laureate Ode has evidently lain in bis desire to penetrate through the martial symbols to the moral meaning of the duke's life. It is with manifest unwillingness that he touches on the political differences and the battle-fields with which the duke's memory is associated. He would transcend these, or else treat them as types of the spiritual, and lose them in the radiance of what they symbolized. War is alien, indeed, to the prevailing sentiment of the age. glories are like the "fine gold" that has "become dim," and no longer dazzle the popular mind as they did. Accordingly, Mr. Tennyson interpreted them all by the one large term "duty," in the light of which a public lesson may be learnt, and the duke's example may prove the guiding star to any man however peacefully disposed. This, in fact, has been so generally felt, that the lesson has been dwelt on to satiety. By Mr. Tennyson it has been made the theme of one of the most brilliant passages in his Odewhich we cited in our former article. To that passage are now added the following

lines:

Such was he; his work is done;

But while the races of mankind endure,
Let his great example stand

Colossal, seen of every land,

And keep the soldier firm, the statesman pure; Till in all lands and through all human story The path of duty be the way to glory.

Mr. Tennyson seems now, however, to have felt that he had dwelt too exclusively on the moral phases of the duke's character; and he has supplied an additional number of referto the soldier-life of the departed

ences

warrior.

He now reminds us that

No more in soldier fashion will he greet
With lifted hand the gazer in the street;

-and in the apostrophe to the shade of Nelson, he adds to the allusions to the duke's victories the following: —

And underneath a nearer sun,
Warring on a later day,
Round affrighted Lisbon drew
The treble works, the vast designs
Of his labored rampart-lines,
Where he greatly stood at bay,
Whence he issued forth anew,
And ever great and greater grew,

the former copy. The alteration is a judicious one.

In the following citation, the lines in italics are additions or emendations: A people's voice! we are a people yet, Though all men else their nobler dreams forget, Confused by brainless mobs and lawless Powers; Thank Him who isled us here, and roughly set His Saxon in blown seas and storming showers, We have a voice, with which to pay the debt Of boundless reverence and regret To those great men who fought, and kept it ours. And kept it ours, O God, from brute control; O Statesmen, guard us, guard the eye, the soul Of Europe, keep our noble England whole, And save the one true seed of freedom sown Betwixt a people and their ancient throne, That sober freedom out of which there springs our loyal passion for our temperate kings; For, saving that, ye help to save mankind And drill the raw world for the march of mind, Till public wrong be crumbled into dust, Till crowds be sane and crowns be just; But wink no more in slothful overtrust. Remember him who led your hosts; Revere his warning; guard your coasts; Your cannons moulder on the seaward wall; His voice is silent in your council-hall Forever; and whatever tempests lour Forever silent; even if they broke In thunder, silent; yet remember all He spoke among you, and the Man who spoke ; Who never sold the truth to serve the hour, Nor paltered with Eternal God for power; Whose life was work, whose language rife With rugged maxims hewn from life; Whose eighty winters freeze with one rebuke, All great self-seekers trampling on the right; Truth-teller was our England's Alfred named; Truth-lover was our English Duke; Whatever record leap to light

He never shall be shamed.

From this section lines have been also omitted-but it is not necessary to distinguish the rejected. Altogether this strophe of the Ode is decidedly improved in its effect. It has gained power by compression as well as by dilation.

We will point out another additional gem or two-and then conclude. They occur in the last strophe; we have italicized the

lines.

We revere, and while we hear
The tides of Music's golden sea
Setting toward eternity,
Lifted up in heart are we,

Until we doubt not that for one so true
There must be other nobler work to do
Than when he fought at Waterloo,
And victor he must ever be.

For though the Giant Ages heave the hill
And break the shore, and evermore
Make and break, and work their will;

Though worlds on worlds in myriad myriads roll | seem to justify, at least to the full extent;

Round us, each with different powers,
And other forms of life than ours,
What know we greater than the soul?

On God and Godlike men we build our trust.

Hush, the Dead March sounds in the people's

ears;

The dark crowd moves; and there are sobs and tears;

that not unfrequently he has fallen under the charge of obscurity and vagueness both of thought and expression; that sometimes his aids his reasonings; and that now and then ponderous learning rather encumbers than he has misapprehended the point of an opponent's argument, or has tried to turn it

The black earth yawns; the mortal disappears; aside by what is irrelevant. But, after

Ashes to ashes, dust to dust;

He is gone who seemed so great.

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The poem as it now stands has the mature stamp of the artist upon it. There are yet a few things which we should have liked to see removed or amended :— - we will instance the imperfect rhymes commencing the sixth strophe-viz., guest, "priest," "rest." This dissonance might have been avoided by an additional verse rhyming to "priest. Standing where it does, at the commencement of the finest section of the poem, the triplet in question is offensive. It is, besides, the only instance of poetic license thus abused; and as it may be easily remedied, we hope to see the requisite line added in the next edition.

From the Critic.

every deduction is made that can be justly made on the score of such deficiencies, the, work, he is persuaded, will commend itself to literate theologians as one of the most valuable contributions which Germany has furnished to Biblical Criticism and Isagogie." A translator must be both very conscientious, and have great confidence in the merits of his author, when he thus ventures to call attention to his defects. The charge of obscurity is one that has been brought against Dr. Hävernick even by his own countrymen, and we are therefore bound to express to Dr. Alexander all the more thanks for the pains he must have taken to present us with this translation.

Another noticeable importation from Germany is The Lord's Day, by E. W. Hengstenberg, Doctor and Professor of Theology at Berlin, translated by James Martin, B.A., of Lymington. The Sabbath Observance question is one upon which enlightened English readers must feel that it is not indifferent to know what is the opinion of our continental Protestant brethren, and especially of such a man as Professor Hengstenberg, who, now that we THE Messrs. Clark, of Edinburgh, deter- have lost the illustrious Neander, may be remined to maintain the high reputation of garded as the chief expositor of German ortheir "Foreign Theological Library," have thodoxy. The present treatise is divided into just added to the series a twenty-eighth vol- three parts, in the first of which the author ume, containing A General Historico-Critical treats of "The Old Testament; its Letter and Introduction to the Old Testament, by H. A. Spirit," and in the second of "The Sabbath Ch. Havernick, late Teacher of Theology of the Jews, and the Sunday of Christians; in the University of Königsberg, translated containing-I. A history of opinions on from the German by William Lindsay Alex- the connexion between the Sabbath and Sunander, D.D. This work of Professor Hävernick, day. II. Investigation of the connexion between an orthodox German divine, is one of the the Sabbath and Sunday." Part III. conmost important that have been recently pub-tains "Remedial Efforts examined." lished on the subject of Old Testament criti-doctrine of the strict observance of the Sabcism. The second and third chapters espec- bath, as it prevails in this country and Amerially, which treat of the original languages of ica, has of late obtained many advocates in the Old Testament Scriptures, and of the his- Germany, and the year 1850 stands especially tory of the text, deserve notice, as containing marked for the zeal and energy with which much information which the mere English those advocates sought to bring the subject reader would not find elsewhere. Indeed, the before their countrymen. "Societies were whole is the production of a learned and ear- formed, prizes offered, a periodical started, and nest scholar. In some parts, however, it la-a large number of publications issued and put bors under the disadvantage of obscurity. Of in circulation," all with a view to enforce the this and other drawbacks the able translator, English, or, as it is sometimes called, the Puriwhile he commends the work as a whole, tanical doctrine of the Sabbath. Professor complains in the following terms: "It is Hengstenberg, not entirely disapproving of not, indeed, free from defects. The translator these efforts, at the same time sees a danger feels himself at liberty to acknowledge that on in such enthusiasm being carried too far, and several points Dr. Hävernick has failed to at last landing its authors in a Pharisaic formcarry conviction to his mind; that his conclu-alism. In this, as everything, therefore, he sions are not always such as his premises wishes to consult the Holy Scriptures, in

The

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