from Sir Hector M'Lean. I am likewise informed, that Mr. M'Donald, Captain of the Clan-Ronald bought forty or fifty firelocks, as many pistols, and a parcel of flints from Mr. Beith, Captain of the Ship William and John. Mr. Beith's ordinary residence is at Philadelphia, has a brother at Aberdeen a nonjuring clergyman. Captain Beith bought the arms in Holland, proceeded on a voyage from thence to Norway, where he loaded timber, and from thence is bound to Clyde; and in his voyage met Clanronald in the Western Isles, and sold him the arms. Beith afterwards proceeded to Clyde, but being disappointed of the sale of the timber, then went to Dublin and sold his cargo there, and related the above facts in July last to my informer. I am also advised, that Mr. Gordon of Glenbucket is now over seas. This gentleman was over about two years ago, and made some visits to some of the clans to the northward on his return. From different hands I have it, that the Highlanders to the northward are fully armed, and wear them openly, particularly Appin's people, Lochiel's, Glengary's and Keppoch's-yea, the M'Lean's are picking up arms, and so are the people of Morven and Ardnamurchan. What is done further north, I have not as good access to know. It is allowed that all those people are giddy, and have hopes of an invasion. I believe they are elevated upon slight grounds yet their conduct strikes some damp on the people of Argyleshire, as they are quite disarmed. It is therefore to be wished, that they, whose loyalty and attachment to the present establishment are so well known, be armed for their own defence, or that the government take effectual measures for disarming the rest of the Highlanders. If there is any appearance of invasion or trouble, I apprehend it will be necessary your Grace give me instructions with whom I am to correspond in Scotland, upon any emergency, in matters tending to the service of the government, and preservation of the peace of the country, as informations may come to hand which may require more speedy resolutions and orders than I can have from Grace at your such a distance, and as it cannot be expected good intelligence can be procured without some expense, it seems necessary that the government allow some money for that end."

Though the Chief of the M'Lachlans, as appears from the above letter, seemed sufficiently eager to embark in the rebellion, yet, on hearing of the trifling force which accompanied Charles, he, like many others, at first declined coming forward, and, while yet undetermined what course to pursue, he dissuaded some of his more zealous clansmen from committing themselves. Among these was M'Lachlan of Dunad ;* he afterwards went to M'Lachlan of Glensanda, to whom he communicated his intention of taking a part against the house of Hanover. Glensanda, who was a man of sound judgment, and great natural sagacity, endeavoured to reason him out of what he considered to be an imprudent measure; for this purpose he sent for Campbell of Airds, and the arguments of these two would, in all probability, have prevailed upon M'Lachlan to relinquish his design, had not an advocate for the interest of Charles appeared, in the person of Mrs. Jean Cameron, a daughter of the Laird of Glendasarie; this lady, who was said to possess great personal attractions, brought intelligence that Lochaber, Badenoch, and all the northern districts were in arms for

• This hesitation on the part of M'Lachlan is corroborated by the following extract, from a letter of Dugald M'Tavish, younger of Dunardarig, to Sir James Campbell, Baronet, of Achnabreck, speaking of an accomplice, he says, "at the same time I do not believe he is any ways engaged to M'Lachlan, and my reason for thinking so, is, that Angus told me since M'Lachlan went away, yt he was not well pleased with M'Lachlan for not being free with him, for yt he had seen him the Saturday before he went off, and he did not tell him his design, nay, to the contrary, that he would not meddle at all." The letter, from which the preceding extract is taken, was found in the pocket of Sir James Campbell when he was arrested on the 22d day of November, 1745, at Lochgair. M'Tavish's letter is dated "Fernoch, 22d Sept. 1745."

the Prince, and that all Highlanders who were worthy of the name, were flocking to his standard. The eloquence and enthusiasm, with which this lovely devotee of the white rose appealed to the feelings, were too powerful for the wavering mind of M'Lachlan to resist, and, before day break, he left Glensanda, accompanied by one of the sons of his host, and hurried forward to the muster of the clans.

THE RULING PASSION.

FROM MY THEATRICAL NOTE BOOK.—No. III.

THE late Mr. P―r, one time baillie in the town of Ayr, was celebrated among his contemporaries for his extraordinary theatrical penchant. Always when business permitted, and sometimes even when business did not very well permit, as Aunt Girzy, with whom he domiciled, can yet testify, was he known to quit his home, and ride the distance to Glasgow, when a favourite drama, the arrival of a new company, or any other theatrical novelty invited. He had never, however, seen the celebrated Mrs. Siddons, and, observing once, in the newspaper, that she was on her farewell visit to Edinburgh, and to take her benefit and leave of the Edinburgh audience on the following evening, in the part of Lady Macbeth, he at once determined to travel the distance, and enjoy this greatest of all theatrical treats. Coaching was not then conducted on the same large, liberal, or commodious scale that it is now. The only arrangement by which he could arrive in time for the play was to take the carrier's waggon, during the night to Glasgow, and the first Edinburgh Coach thence next morning, which he accordingly did. He arrived early in the afternoon, but found he had only time to run into the nearest chop house and swallow a dinner and a glass of toddy; for the doors of the Theatre were already beset with multitudes vociferating for admission. With the greatest difficulty, he obtained a back seat in the upper boxes or slips-the pit having been packed by the first rush of applicants, and the lower boxes all engaged a week past. Tired, and yet tolerably comfortable too, from the near prospect of such a treat, he laid his back to the angle of the wall at which he sat, waiting with great complacency the rising of the curtain. Being, however, nearly an hour too early, he got sick of the noise and confusion that reigned around, and soon fell a dozing. Every cheer that came from the audience, and every new cry for music from the galleries, was an interrup tion to his slumbers. At length, the leaden hand of Morpheus pressed so heavily on his eye-lids, that he fell sound asleep, dreaming of Ayr and his Aunt Girzy. Meantime, the play commenced. Mrs. Siddons appeared amid the loudest cheers that ever came from an audience, and then disappeared. Again and again she was applauded on, and off, as before. The farewell address came and was delivered, The house was in ecstacy. Their plaudits awaked an echo sufficient to rouse the dead, but not our sleeper. The farce came on, full of fun and frolic. The galleries were enraptured with it, and their merriment produced an effect to which all the previous shouting had been incompetent-it awakened the baillie. Yawning and throwing his arms about, he attracted the notice of the person next him.

"Well, Sir, you have had your nap ?"

The baillie found some difficulty at first of recog nizing his locality; but, casting his eyes forward, he discovered a lady upon the stage, the sight of whom

This lady, though married to an Irish gentleman of the name of M'Kean, still retained for some reason or other, the surname of her family. The zeal which she manifested in the cause of the Prince, brought her so often in contact with him, that surmises by no means favourable to her reputation were the consequence.

"Mrs. Siddons went off an hour ago."

"You don't say so?"

"I do indeed."

"Bless us all! And is this the farce ?"

"To be sure it is- The Sleeping Draught'—It has awakened you.”

"Curse my stupid eyes! And will I not see Mrs. Siddons?"

"I do not think you will, unless you visit her in her lodgings."

"Well, this is a good joke. I have travelled upwards of seventy miles to see that woman, and I fancy I must depart without even hearing the sound of her voice."

"From what quarter are you, if I may ask?"

"A little bit west from this. I submitted to sleep last night in a caravan-almost choked myself eating my dinner, I was in so great a hurry-got my coat torn, you see, in the struggle to gain admission-and all for nothing, it seems."

"Not at all. Stop and enjoy the farce ?" "D- the farce !"-And off he went.

Mr. Pr returned to Ayr by the earliest conveyance, indulging the hope, that his friends of the town council would never know the particulars of his Edinburgh jaunt. He was surrounded on his arrival, by all who knew his peculiar taste for theatricals. He talked to them, but did not seem much disposed to prolong the conversation. All remarked the coolness with which he replied to their interrogatories about Mrs. Siddons. The truth came out at last-and long and oft was he teazed by his friends in Ayr, and particularly on gala days, at meetings of the council, regarding his visit to Edinburgh.

"What do you think of Edinburgh, Baillie Pr?” "Tat-be quiet."

"The Baillie once saw Macbeth' played in Edinburgh. Didn't you Baillie ?"

Tut-Whisht!"

"Ha ha ha! What did you think of Mrs. Siddons?"

"No more of that-an' thou lovest me, Hal!".

MISCELLANEA.

--

QUANTITY AND VALUE.-When emeralds were first discovered in America, a Spaniard carried one to a lapidary in Italy, and asked him what it was worth; he was told a hundred escudos; he produced a second, which was larger, and that was valued at three hundred. Overjoyed at this, he took the lapidary to his lodging, and shewed him a chest full; but the Italian, seeing so many, damped his joy by saying, "Ah! ha! Senor, so many! -these are worth one escudo."

CATS. The first couple of cats which were carried to Cuyaba sold for a pound of gold. There was a plague of rats in the settlement, and they were purchased as a speculation, which proved an excellent one. Their first kittens produced thirty oitavas each; the next generation were worth twenty; and the price gradually fell as the inhabitants were stocked with these beautiful and useful creatures. Montenegro presented to the elder Almagro the first cat which was brought to South America, and was rewarded for it with six hundred pesos.-Southey.

THE CHESNUT TREE.- Chesnuts grow wild in this country, but never equal those in size and perfection which are imported from Spain and Italy. In these countries they sometimes grow to an immense size, and the largest in the known world are those growing upon Mount Etna in Sicily. The most bulky of them is known by the name of, the chesnut-tree for a hundred horses; and is one hundred aud sixty feet in circumference, but quite hollow within. The people have built a house in the cavity of this enormous mass. At Totworth, in Gloucestershire, there is a chesnut tree, fifty-two feet in circumference, which is probably nearly one thousand years old.

CANNON. In 1545, it was remarked, as extraordinary, that the French and English fleets had fired not less than 300 cannon shot, in an engagement of two hours! It is therefore evident, that few cannon were carried by any one ship: and indeed, we believe, that originally the number was only two, placed in a castle in the forepart of the ship; whence the name of "forecastle" is still retained, though the guns are removed, These guns also were of small dimensions; and probably, at first fixed, to prevent their recoil; as we know they were, on land. When the accidents to which their aim was liable, in consequence of the motion of the ship, &c. are considered, we may safely infer that the slaughter they produced could not be very great. The ordnance was afterwards augmented in number, by the admission of pieces of various descriptions and calibres; which stood without assortment on the same deck.

HEAD-DRESS IN CHINA.-The Chinese fair carries on her head the figure of a certain bird. This bird is composed of copper or of gold, according to the quality of the person: the wings spread out, fall over the front of the head-dress and conceal the temples. The tail, long and open, forms a beautiful tuft of feathers. The beak covers the top of the nose; the neck is fastened to the body of the artificial animal, by a spring, that it may the more freely play, and tremble at the slightest motion.

ARITHMETIC.-That men originally counted by their fingers, is no improbable supposition; it is still naturally practised by the vulgar of the most enlightened nations. In more uncivilized states, small stones have been used, and the etymologists derive the words calculate and calculation from calculus, which is the Latin term for a pebble-stone, and by which they denominated their counters used for arithmetical computations.

ON THE ANALOGIES BETWEEN POETRY AND

PAINTING.-No. I.

"The arts refined, ere as in glorious Greece, Together flourish, or together cease;

As sister-streams encircling Eden's bowers

Fed from one fount, and by the same dewy showers,

In union they arise before the eye,

Like rainbow-beams, that span the clouded sky;

Like them from heaven they come-like them they shine,
Each with a hue that tells it is divine;

Like them they come, hail'd by the hope-lit smiles
Of kneeling earth, and ocean's grateful isles;
Like them, in one eclipse, they disappear,

And leave the soul bereft in darkness here."

ANON.

POETRY and painting have always been considered as closely allied to each other, both in spirit and design; but, by comparing some of the leading features of these two arts, we may acquire a more distinct conception of the true relations which subsist between them.

However some writers may have classed poetry (as an imitative art) with painting and sculpture, we cannot consider it in that light, since it does not, like them, exhibit any sensible imitation of its subject; and, with regard to any more remote analogy which may be imagined between the imitative pictures of the painting, and the descriptions of poetry, the latter possess no more of the character of imitative productions, than any other verbal description whatever.

Painting may be considered under two aspects— first, as an imitative or mechanical art, which implies no more than the imitation of some given object as it actually exists, and the exercise of the imitative faculty required for that purpose-and, secondly, as an inventive art, in which the subject of the picture is an original conception and combination of from the mind of the artist, and in which, besides, the imitative faculty alluded to, those sensibilities of the heart and that creative power of the intellect, which mark the highest order of genius in painting, are also called into operation. Doubtless the imitative faculty can, if accompanied with the higher powers referred to, be applied with more effect even to the mere portraiture of nature and life, since such superadded qualities of mind quicken the painter's perception of the constituent lineaments and proportions of what he is required to copy-yet, it is also true, that, without these, one may become a considerable proficient in the mechanical department of the art. The imitative faculty is, accordingly, not only often found without the inventive powers in individuals, but is, also, so general in some countries, as to form a trait of national character. The Chinese possess the imitative faculty in an eminent degree, and the accuracy with which they copy the pictures, in the European ships at Canton, is well known to the visitors at that port. "In whatever country," says Dr. Clarke, "we seek original genius, we must go to Russia for a talent of imitation. It is the acme of Russian intellect, the principle of all their operations. They have nothing of their own, but it is not their fault if they have not every thing others invent. The meanest Russian slave is, sometimes, able to accomplish the most intricate works of mechanism, and to copy, with his single hand, what has demanded the joint labours of the best workmen in France or England. This talent for imitation, has, also, been manifested in the fine arts; we saw a minia

ture portrait of the Emperor executed by a poor slave who had only seen him once. In all that concerned resemblance and minuteness of representation, it was a most surprising work." Again, "a picture by Dietrici, was borrowed, by one of the Russian nobility, from his friend. The nobleman, who owned the picture, had impressed his seal upon the back of it, and had inscribed it with verses and mottos of his own composition. With so many marks he thought his picture safe anywhere-nevertheless, a copy so perfect in all the circumstances, was secretly substituted for the original picture, and put into the frame, that, when returned to its owner, the fraud was not discovered." -(Clarke's travels in Russia.) We shall not here attempt any analysis of the mental constitutions adapted for the two arts under comparison. It may, however, be observed as an inference from the preceding remarks, that, while feeling and imagination are always essential elements in the poet, they are so to the painter only in the inventive and higher department of his art, and that it is the presence of the imitative principle in the genius of the latter, which peculiarly distinguishes it from that of the former. The qualities of mind which, possessed in a sufficient degree and under a certain happy combination, constitute genius in the refined arts, are, to a limited extent, more or less common to the generality of mankind. Hence it is, that many individuals withont real genius, attain some progress in poetry and painting, the productions of both of which are thus like pearls, too liable to paste imitations.

The ever-shifting aspects of nature, and the varied excitements of life, which, in all stages of society, surround, in a greater or less degree, almost every individual, are, of themselves, sufficient to awaken the genius of the poet; while, on the other hand, the suggestions of example, the presence of master-models, the honours of public favour, and the positive demand for the production of imitative art, which call into action the powers of the painter, seem to be more rare and remote, and to require a more advanced and artificial period of civilization. The comparative facilities thus afforded for the developement of genius are, therefore, generally greater in poetry than in painting, while the same reasoning would lead us to expect, what experience confirms, that the former art has generally preceded the latter, in their comparative advances towards perfection. Nor would it in any degree affect this opinion, even if it were true, as has been alleged, that those painted signs which seem to have been the origin of hyerogliphics, were used as the symbols of expression before the invention of letters, because, the rude outlines, or daubings, required for such symbols, had neither the progress in form, nor the aim in use, to entitle them to be considered as paintings in the legitimate sense of that term. Nay, even although painting had been perfected before the invention of letters, that circumstance might have established a higher antiquity, in a comparison with poetry, but would still have been perfectly consistent with the supposition, that, from the invention of letters, forward to the present time, the art of poetry had exhibited powers of more easy and rapid developement, and had ever found, in the constitutions of all subsequent states of society, elements congenial for the dissemination and growth of her off

spring, beyond what the same elements could communicate to her elder born sister-painting.

The superior success in the works of taste which have distinguished some nations so much above others, is in little or no degree to be ascribed to any natural difference in their respective mental constitutions, but to circumstances favourable to the developement of the refined arts, existing, in a greater degree, in some countries and states of society, than in others. Whatever pretensions, therefore, to exclusive originality may have been set up on behalf of ancient Greece, neither poetry nor painting can be held as exclusive inventions of that or any other country. In truth, all the refined arts spring from principles common to the human race-from those universal sympathies which lead man to seek communion with all that is around him-attract his soul to the beautiful and sublime, in the moral, as well as in the material world-open to him the most refined and elevating sources of enjoyment, and seem as if they had been designed, under an unfallen and purer condition of his being, to draw his affections, from selfish absorption within his own breast, outwards, to the works of creation: thus, binding him as if with links of love to nature, and through her, to nature's God; and that fiction of the Greek muse, which fancied love to have taught man the refined arts, was as true as it is beautiful. The sympathetic emotions thus awakened, and the imaginative conceptions by which they are accompanied, become expressed in the language of poetry, or in the forms of painting and sculpture, not only as the means of that present utterance which they so naturally seek, but also that they may be perpetuated more surely than they could be, by the mere memory of their possessor, a record mortal as man himself, and too transitory for his aspirations after a future existence, to the offspring of his mind, through ages to commence only when he himself shall be no more.

CORNELIA was the joy and the pride of her parents : for, she was beautiful as Aurora, and her cheeks were like the rose-bud when it first discloses its charms to the dews of heaven; her soul, too, was as pure as the first beams of a morning in spring, when its earliest rays flash upon the blooming vallies, and herald the glories of the approaching day.

And Cornelia had never known the cares and the sorrows of existence; for, hitherto, each day had been to her a day of gladness: but lo! her mother-her fond and loving mother-after giving birth to a sweet little boy, fell sick and seemed nigh unto death; and long and violent was her fever, and reason at length forsook her throne. But night, after night, did Cornelia keep unwearied watch by the bed-side of her suffering parent, with soft and noiseless step stealing through the chamber, and, in secret anguish, administering the cooling draught and the refreshing cordial.

And the seventh day the fever came to its crisis, and not but a stifled sob disturbed the silence of the sufferer's chamber; for all announced her approaching end. But with night came sleep-sleep anxiously desired, earnestly prayed for-and calm and refreshing were the slumbers of the dear one; and Cornelia sat by her couch, and listened to her every breathing, and hope and fear held alternate sway in her soul, till day appeared, when, oh, joy of joys! her mother opened her mild blue eyes, and, in soft and silvery tone, she said: "How well I feel myself; soon shall I recover:" and she ate and she drank, and again she fell into a reviving sleep. How did the maiden's heart then leap for joy! Gently she left her parent's chamber, and gaily

she tripped into the fields, and quickly she ascended the hill that stood behind their modest lowly dwelling, and reached its summit just as the day began to break. There, agitated by the contending feelings of grief and of hope, she remained till the sun arose in unclouded majesty, and his rays illumined her lovely tearful visage; and Cornelia thought of her mother's now almost assured restoration to health, but she also remembered the pain and the anguish she had endured, till, no longer able to restrain the emotions that swelled her heart, she knelt down amidst the flowers of the hill, and she bowed her head, and mingled her tears with the dew from heaven.

Then she arose and returned to her home and to the chamber of her parent: and Cornelia was fairer and lovelier than ere she was before, for she had held converse with her God.

LITERARY CRITICISM.

THE HUNCHBACK, by James Sheridan Knowles.-London, 1832. We have just got a glimpse of this drama, which, for the sake of the author, we most heartily rejoice has turned out one of the most successful hits which has been lately made on the British Stage. Mr. Knowles, in preparing his dramatic lectures, necessarily imbued his mind, more than ever, with the style and feeling of the early English dramatists, a circumstance which is evidently traceable in the work before us. This we do not find fault with, for the author of Virginius has too much originality and genius to become a mere plagiarist. He has, however, corrected his taste, by looking into the dramatic mirror of the past, and, we rejoice, to find that he has been the better for doing so. We are told by Mr. Knowles, in his preface, that the world owes "Hunchback" to the failure of the author's comedy, entitled "The Beggar's Daughter of Bethnal Green," a circumstance which makes us still more rejoice in the success of the present drama. It is afflicting to fail in any literary undertaking; but, when that failure is productive of something, by its almost broken-hearted author, infinitely superior to all his former efforts, the failure may be then considered a blessing! Our limits forbid us to enter into the plot of this play, suffice it to say, that it boasts of what no good acting drama wants, a succession of absorbing incidents, and an unflagging interest connected with the developement of the story. The character of Julia is not only finely imagined, but brought out with the hand and the heart of a master. It is certainly the most perfect and most original creation which Mr. Knowles has yet given us. The following dialogue, between Julia and Helen, will give the reader a glimpse into the character of the heroine:

Julia. Helen, you know the adage of the tree.
I've ta'en the bend. This rural life of mine,
Enjoined me by an unknown father's will,
I've led from infancy. Debarred from hope
Of change, I ne'er have sighed for change. The town
To me was like the moon, for any thought

I e'er should visit it-nor was I schooled
To think it half so fare.

The town's the sun; and thou hast dwelt in night
E'er since thy birth, not to have seen the town;
Their women there are queens, and kings their men-
Their houses palaces.

Julia.

And what of that? Have your town palaces a hall like this? Couches so fragrant, walls so high adorned? Casements with such festoons, and such look-out, As these fair vistas have? Your kings and queens! See me a May-day queen, and talk of them!

Helen. Extremes are ever neighbours-'tis a step
From one to th' other. Were thy constancy
A reasonable thing! A little less
Of constancy. A woman's constancy!

I should not wonder wert thou ten years hence
The maid I know thee now; but, as it is,
The odds are ten to one, that this day year
Will see our May-day queen a city one.