The Project Gutenberg EBook of The Mirror of Literature, Amusement, and Instruction, by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Mirror of Literature, Amusement, and Instruction Volume 14, No. 407, December 24, 1829. Author: Various Release Date: February 24, 2004 [EBook #11258] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK MIRROR OF LITERATURE, NO. 407 *** Produced by Jonathan Ingram, David Garcia and the Online Distributed Proofreading Team. THE MIRROR OF LITERATURE, AMUSEMENT, AND INSTRUCTION. VOL. XIV, NO. 407.] DECEMBER 24, 1829. [PRICE 2d. CONTAINING ORIGINAL ESSAYS HISTORICAL NARRATIVES; BIOGRAPHICAL MEMOIRS; SKETCHES OF SOCIETY; TOPOGRAPHICAL DESCRIPTIONS; NOVELS AND TALES; ANECDOTES; SELECT EXTRACTS FROM NEW AND EXPENSIVE WORKS; _POETRY, ORIGINAL AND SELECTED;_ The Spirit of the Public Journals; DISCOVERIES IN THE ARTS AND SCIENCES; _USEFUL DOMESTIC HINTS;_ _&c. &c. &c._ ======== VOL. XIV. ======== London, PRINTED AND PUBLISHED BY J. LIMBIRD, 143, STRAND, (_Near Somerset House_.) ____ 1829 PREFACE Wassailing, prefaces, and waits, are nearly at a stand-still; and in these days of universality and everything, we almost resolved to leave this page blank, and every reader to write his own preface, had we not questioned whether the custom would be more honoured in the breach than the observance. My Public--that is, our readers--we have served you seven years, through fourteen volumes; in each renewing our professions of gratitude, and study for your gratification; and we hope we shall not presume on your liberal disposition by calculating on your continued patronage. We have endeavoured to keep our engagements with you--_to the letter_[1]--as they say in weightier matters; and, as every man is bound to speak of the fair as he has found his market in it, we ought to acknowledge the superabundant and quick succession of literary novelties for the present volume. There is little of our own; because we have uniformly taken Dr. Johnson's advice in life--"to play for much, and stake little" This will extenuate our assuming that "from castle to cottage we are regularly taken in:" indeed, it would be worse than vanity to suppose that price or humble pretensions should exclude us; it would be against the very economy of life to imagine this; and we are still willing to abide by such chances of success. [1] This is not intended exclusively for the _new type_ of the present volume. Cheap Books, we hope, will never be an evil; for, as "the same care and toil that raise a dish of peas at Christmas, would give bread to a whole family during six months;" so the expense of a gay volume at this season will furnish a moderate circle with amusive reading for a twelvemonth. We do not draw this comparison invidiously, but merely to illustrate the advantages of literary economy. The number _Seven_--the favourite of Swift, (and how could it be otherwise than odd?) has, perhaps, led us into this rambling monologue on our merits; but we agree with Yorick in thinking gravity an errant scoundrel. A proportionate Index will guide our accustomed readers to any particular article in the present volume; but for those of shorter acquaintance, a slight reference to its principal points may be useful. Besides, a few of its delights may have been choked by weeds and crosses, and their recollection lost amidst the lights and shadows of busy life. The zeal of our Correspondents is first entitled to honourable mention; and many of their contributions to these pages must have cost them much time and research; for which we beg them to accept our best thanks. Of the Selections, generally, we shall only observe, that our aim has been to convey information and improvement in the most amusing form. When we sit down to the pleasant task of cutting open--not cutting _up_--a book, we say, "If this won't turn out something, another will; no matter--'tis an essay upon human nature. (We) get (our) labour for (our) pains--'tis enough--the pleasure of the experiment has kept (our) senses, and the best part of (our) blood awake, and laid the gross to sleep." In this way we find many good things, and banish the rest; we attempt to "boke something new," and revive others. Thus we have described the Siamese Twins in a single number; and in others we have brought to light many almost forgotten antiquarian rarities. Of Engravings, Paper, and Print, we need say but little: each speaks _prima facie,_ for itself. Improvement has been studied in all of them; and in the Cuts, both interest and execution have been cardinal points. Milan Cathedral; Old Tunbridge Wells and its Old Visitors; Clifton; Gurney's Steam Carriage; and the Bologna Towers; are perhaps the best specimens: and by way of varying architectural embellishments, a few of the Wonders of Nature have been occasionally introduced. Owen Feltham would call this "a cart-rope" Preface: therefore, with promises of future exertion, we hope our next Seven Years may be as successful as the past. 143, _Strand, Dec._ 24, 1829. [Illustration: Thomas Campbell, Esq.] * * * * * MEMOIR OF THOMAS CAMPBELL, ESQ. Of the subject of this memoir, it has been remarked, "that he has not, that we know of, written one line, which, dying, he could wish to blot." These few words will better illustrate the fitness of Mr. Campbell's portrait for our volume, than a laudatory memoir of many pages. He has not inaptly been styled the Tyrtaeus of modern English poetry, and one of the most chaste and tender as well as original of poets. He owes less than any other British poet to his predecessors and contemporaries. He has lived to see his lines quoted like those of earlier poets in the literature of his day, lisped by children, and sung at public festivals. The war-odes of Campbell have scarcely anything to match them in-the English language for energy and fire, while their condensation and the felicitous selection of their versification are in remarkable harmony. Campbell, in allusion to Cymon, has been said to have "conquered both on land and sea," from his Naval Odes and "Hohenlinden" embracing both scenes of warfare. Scotland gave birth to Thomas Campbell. He is the son of a second marriage, and was born at Glasgow, in 1777. His father was born in 1710, and was consequently nearly seventy years of age when the poet, his son, was ushered into the world. He was sent early to school, in his native place, and his instructor was Dr. David Alison, a man of great celebrity in the practice of education. He had a method of instruction in the classics purely his own, by which he taught with great facility, and at the same time rejected all harsh discipline, substituting kindness for terror, and alluring rather than compelling the pupil to his duty. Campbell began to write verse when young; and some of his earliest attempts at poetry are yet extant among his friends in Scotland. For his place of education he had a great respect, as well as for the memory of his masters, of whom he always spoke in terms of great affection. He was twelve years old when he quitted school for the University of Glasgow. There he was considered an excellent Latin scholar, and gained high honour by a contest with a candidate twice as old as himself, by which he obtained a bursary. He constantly bore away the prizes, and every fresh success only seemed to stimulate him to more ambitious exertions. In Greek he was considered the foremost student of his age; and some of his translations are said to be superior to any before offered for competition in the University. While there he made poetical paraphrases of the most celebrated Greek poets; of Aeschylus, Sophocles, and Aristophanes, which were thought efforts of extraordinary promise. Dr. Millar at that time gave philosophical lectures in Glasgow. He was a highly gifted teacher, and excellent man. His lectures attracted the attention of young Campbell, who became his pupil, and studied with eagerness the principles of sound philosophy; the poet was favoured with the confidence of his teacher, and partook much of his society. Campbell quitted Glasgow to remove into Argyleshire, where a situation in a family of some note was offered and accepted by him. It was in Argyleshire,[2] among the romantic mountains of the north, that his poetical spirit increased, and the charms of verse took entire possession of his mind. Many persons now alive remember him wandering there alone by the torrent, or over the rugged heights of that wild country, reciting the strains of other poets aloud, or silently composing his own. Several of his pieces which he has rejected in his collected works, are handed about in manuscript in Scotland. We quote one of these wild compositions which has hitherto appeared only in periodical publications. [2] For a view of this retreat, see the MIRROR No. 337. * * * * * DIRGE OF WALLACE. They lighted a taper at the dead of night, And chanted their holiest hymn; But her brow and her bosom were damp with affright Her eye was all sleepless and dim! And the lady of Elderslie wept for her lord, When a death-watch beat in her lonely room, When her curtain had shook of its own accord; And the raven had flapp'd at her window-board, To tell of her warrior's doom! Now sing you the death-song, and loudly pray For the soul of my knight so dear; And call me a widow this wretched day, Since the warning of God is here! For night-mare rides on my strangled sleep: The lord of my bosom is doomed to die: His valorous heart they have wounded deep; And the blood-red tears shall his country weep, For Wallace of Elderslie! Yet knew not his country that ominous hour, Ere the loud matin bell was rung, That a trumpet of death on an English tower Had the dirge of her champion sung! When his dungeon light look'd dim and red On the high-born blood of a martyr slain, No anthem was sung at his holy death-bed; No weeping was there when his bosom bled-- And his heart was rent in twain! Oh, it was not thus when his oaken spear Was true to that knight forlorn; And the hosts of a thousand were scatter'd like deer, At the blast of the hunter's horn; When he strode on the wreck of each well-fought field With the yellow-hair'd chiefs of his native land; For his lance was not shiver'd on helmet or shield-- And the sword that seem'd fit for Archangel to wield, Was light in his terrible hand! Yet bleeding and bound, though her Wallace wight For his long-lov'd country die, The bugle ne'er sung to a braver knight Than Wallace of Elderslie! But the day of his glory shall never depart, His head unentomb'd shall with glory be balm'd, From its blood-streaming altar his spirit shall start; Though the raven has fed on his mouldering heart, A nobler was never embalm'd! From Argyleshire, where his residence was not a protracted one, Campbell removed to Edinburgh. There he soon became introduced to some of the first men of the age, whose friendship and kindness could not fail to stimulate a mind like that of Campbell. He became intimate with the late Dugald Stewart; and almost every other leading professor of the University of Edinburgh was his friend. While in Edinburgh, he brought out his celebrated "Pleasures of Hope," at the age of twenty-one. It is perhaps not too much to say of this work, that no poet of this country ever produced, at so early an age, a more elaborate and finished performance. For this work, which for twenty years produced the publishers between two and three hundred pounds a year, the author received at first but L10, which was afterwards increased by an additional sum, and by the profits of a quarto edition of the work. By a subsequent act of the legislature, extending the term of copyright, it reverted again to the author; but with no proportional increase of profit. Campbell's pecuniary circumstances are said to have been by no means easy at this time and a pleasant anecdote is recorded of him, in allusion to the hardships of an author's case, somewhat similar to his own: he was desired to give a toast at a festive moment when the character of Napoleon was at its utmost point of disesteem in England. He gave "Bonaparte." The company started with astonishment. "Gentlemen," said he, "here is Bonaparte in his character of executioner of the booksellers." Palm, the bookseller, had just been executed in Germany, by the orders of the French. After residing nearly three years in Edinburgh, Campbell quitted his native country for the Continent. He sailed for Hamburgh, and there made many acquaintances among the more enlightened circles, both of that city and Altona. At that time there were numerous Irish exiles in the neighbourhood of Hamburgh, and some of them fell in the way of the poet, who afterwards related many curious anecdotes of them. There were sincere and honest men among them, who, with the energy of their national character, and enthusiasm for liberty, had plunged into the desperate cause of the rebellion two years before, and did not, even then, despair of freedom and equality in Ireland. Some of them were in private life most amiable persons, and their fate was altogether entitled to sympathy. The poet, from that compassionate feeling which is an amiable characteristic of his nature, wrote _The Exile of Erin_, from the impression their situation and circumstances made upon his mind. It was set to an old Irish air, of the most touching pathos, and will perish only with the language. Campbell travelled over a great part of Germany and Prussia--visiting the Universities, and storing his mind with German literature. From the walls of a convent he commanded a view of part of the field of Hohenlinden during that sanguinary contest, and proceeded afterwards in the track of Moreau's army over the scene of combat. This impressive sight produced the _Battle of Hohenlinden_--an ode which is as original as it is spirited, and stands by itself in British literature. The poet tells a story of the phlegm of a German postilion at this time, who was driving him post by a place where a skirmish of cavalry had happened, and who alighted and disappeared, leaving the carriage and the traveller alone in the cold (for the ground was covered with snow) for a considerable space of time. At length he came back; and it was found that he had been employing himself in cutting off the long tails of the slain horses, which he coolly placed on the vehicle, and drove on his route. Campbell was also in Ratisbon when the French and Austrian treaty saved it from bombardment. In Germany Campbell made the friendship of the two Schlegels, of many of the first literary and political characters, and was fortunate enough to pass an entire day with the venerable Klopstock, who died just two years afterwards. The proficiency of Campbell in the German language was rendered very considerable by this tour, and his own indefatigable perseverance in study. His travels in Germany occupied him thirteen months; when he returned to England, and, for the first time, visited London. He soon afterwards composed those two noble marine odes, _The Battle of the Baltic,_ and _Ye Mariners of England_, which, with his _Hohenlinden_, stand unrivalled in the English tongue; and though, as Byron lamented, Campbell has written so little, these odes alone are enough to place him unforgotten in the shrine of the Muses. In 1803 the poet married Miss Sinclair, a lady of Scottish descent, and considerable personal beauty, but of whom he was deprived by death in 1828. He resided at Sydenham, and the entire neighbourhood of that pleasant village reckoned itself in the circle of his friends; nor did he quit his suburban retreat until, in 1821, literary pursuits demanded his residence in the metropolis. It was at Sydenham, in a house nearly facing the reservoir, that the poet produced his greatest work, _Gertrude of Wyoming_, written in the Spenserian stanza. About the same time Campbell was appointed Professor of Poetry in the Royal Institution, where he delivered lectures which have since been published. He also undertook the editorship of _Selections from the British Poets_, intended as specimens of each, and accompanied with critical remarks.[3] [3] This work is in seven handsome library volumes; a new edition was announced two or three years since, but has not yet appeared. Soon after the publication of his "Specimens," he revisited Germany, and passed some time in Vienna, where he acquired a considerable knowledge of the Austrian court and its manners. He remained long at Bonn, where his friend, W.A. Schlegel, resides. Campbell returned to England in 1820, to undertake the editorship of the _New Monthly Magazine_, and coupled with his name, it has risen to a very extensive circulation. In 1824, Campbell published his "Theodric, a Domestic Tale," the least popular of his works. By his marriage Campbell had two sons. One of them died before attaining his twentieth year; the other, while in the University of Bonn, where he was placed for his education, exhibited symptoms of an erring mind, which, on his return to England soon afterwards, ripened into mental derangement of the milder species. After several years passed in this way, during which the mental disease considerably relaxed, so that young Campbell became wholly inoffensive, and his father received him into his house. The effect of this upon a mind of the most exquisite sensibility like the poet's, may be readily imagined: it was, at times, a source of the keenest suffering. We must now allude to an event in Campbell's life, which will ensure him the gratitude of ages to come: we mean as the originator of the London University. Four years before it was made public, the idea occurred to him, from his habit of visiting the Universities of Germany, and studying their regulations. He communicated it at first to two or three friends, until his ideas upon the subject became matured, when they were made public, and a meeting upon the business convened in London, which Mr. Campbell addressed, and where the establishment of such an institution met the most zealous support. Once in operation, several public men of high talent, headed by Mr. Brougham, lost not a moment in forwarding the great and useful object in view. The undertaking was divided into shares, which were rapidly taken; but Mr. Campbell left the active arrangements to others, and contented himself with attending the committees. With unexampled rapidity the London University has been completed, or nearly so, and Campbell has had the satisfaction of seeing his projected instrument of education almost in full operation in less than three years after he made the scheme public. Although one of the most important,[4] this is not the only public-spirited event of this description, in Mr. Campbell's life; for he was instrumental in the establishment of the Western Literary Institution, in Leicester Square; and at the present time he is, we believe, in conjunction with other eminent literary men, organizing a club to be entitled the Literary Union, whose lists already contain upwards of 300 men of talent, including Sir Walter Scott and all the principal periodical writers of the day. [4] Still, Mr. Campbell's name does not occur in the List of Council or Professors of the University, in the British Almanac for the present year. Campbell, as has already been observed, was educated at Glasgow, and received the honour of election as Lord Rector, three successive years, notwithstanding the opposition of the professors, and the excellent individuals who were placed against him; among whom were the late minister Canning, and Sir Walter Scott. The students of Glasgow College considered that the celebrity of the poet, his liberal principles, his being a fellow-townsman, and his attention to their interests, entitled him to the preference. In person, Mr. Campbell is below the middle stature, well made, but slender. His features indicate great sensibility; his eyes are particularly striking, and of a deep blue colour; his nose aquiline; his expression generally saturnine. His step is light, but firm; and he appears to possess much more energy of constitution than men of fifty-two who have been studious in their habits, exhibit in general. His time for study is mostly during the stillness of night, when he can be wholly abstracted from external objects. He is remarkable for absence of mind; is charitable and kind in his disposition, but of quick temper. His amusements are few; the friend and conversation only; and in the "flow of soul" there are few men possessing more companionable qualities. His heart is perhaps one of the best that beats in a human bosom: "it is," observes a biographer, "that which should belong to the poet of _Gertrude,_ his favourite personification." To exhibit the poet in the social circle, as well as to introduce a very piquant portrait, drawn by a friend, we subjoin a leaf or two from Leigh Hunt's _Lord Byron and some of his Contemporaries_[5]--displaying all the graphic ease for which Mr. Hunt is almost without a rival:-- [5] We are aware of part of the subsequent extract having appeared in vol. xi. of THE MIRROR, but the additional interest which it bears in juxtaposition with this Memoir, induces us to repeat it here. I forget how I became acquainted with Mr. Hill, proprietor of the _Monthly Mirror;_ but at his house at Sydenham I used to meet his editor, Mr. Dubois, Mr. Campbell, who was his neighbour, and the two Smiths, authors of _The Rejected Addresses._ Once or twice I saw also Mr. Theodore Hook, and Mr. Matthews, the comedian. Our host (and I thought him no older the other day than he was then) was a jovial bachelor, plump and rosy as an abbot: and no abbot could have presided over a more festive Sunday. The wine flowed merrily and long; the discourse kept pace with it; and next morning, in returning to town, we felt ourselves very thirsty. A pump by the road side, with a plash round it, was a bewitching sight. "They who know Mr. Campbell only as the author of _Gertrude of Wyoming_ and the _Pleasures of Hope,_ would not suspect him to be a merry companion, overflowing with humour and anecdote, and any thing but fastidious. These Scotch poets have always something in reserve: it is the only point in which the major part of them resemble their countrymen. The mistaken character which the lady formed of Thomson from his _Seasons_ is well known. He let part of the secret out in his _Castle of Indolence;_ and the more he let out, the more honour he did to the simplicity and cordiality of the poet's nature, though not always to the elegance of it. Allan Ramsay knew his friends Gay and Somerville as well in their writings, as he did when he came to be personally acquainted with them; but Allan, who had bustled up from a barber's shop into a bookseller's, was 'a cunning shaver;' and nobody would have guessed the author of the _Gentle Shepherd_ to be penurious. Let none suppose that any insinuation to that effect is intended against Mr. Campbell: he is one of the few men whom I could at any time walk half-a-dozen miles through the snow to spend an afternoon with; and I could no more do this with a penurious man than I could with a sulky one. I know but of one fault he has, besides an extreme cautiousness in his writings; and that one is national, a matter of words, and amply overpaid by a stream of conversation, lively, piquant, and liberal--not the less interesting for occasionally betraying an intimacy with pain, and for a high and somewhat strained tone of voice, like a man speaking with suspended breath, and in the habit of subduing his feelings. No man, I should guess, feels more kindly towards his fellow-creatures, or takes less credit for it. When he indulges in doubt and sarcasm, and speaks contemptuously of things in general, he does it, partly, no doubt, out of actual dissatisfaction, but more perhaps than he suspects, out of a fear of being thought weak and sensitive--which is a blind that the best men very commonly practise. Mr. Campbell professes to be hopeless and sarcastic, and takes pains all the while to set up an university. "When I first saw this eminent person, he gave me the idea of a French Virgil: not that he is like a Frenchman, much less the French translator of Virgil. I found him as handsome as the Abbe Delille is said to have been ugly. But he seemed to me to embody a Frenchman's ideal notion of the Latin poet; something a little more cut and dry than I had looked for; compact and elegant, critical and acute, with a consciousness of authorship upon him; a taste over-anxious not to commit itself, and refining and diminishing nature as in a drawing-room mirror. This fancy was strengthened in the course of conversation, by his expatiating on the greatness of Racine. I think he had a volume of the French Tragedian in his hand. His skull was sharply cut and fine; with plenty, according to the phrenologists, both of the reflective and amative organs; and his poetry will bear them out. For a lettered solitude and a bridal properly got up, both according to law and luxury, commend us to the lovely _Gertrude of Wyoming_. His face and person were rather on a small scale; his features regular; his eye lively and penetrating; and when he spoke, dimples played about his mouth, which nevertheless had something restrained and close in it. Some gentle puritan seemed to have crossed the breed, and to have left a stamp on his face, such as we often see in the female Scotch face rather than the male. But he appeared not at all grateful for this; and when his critiques and his Virgilianism were over, very unlike a puritan he talked! He seemed to spite his restrictions; and out of the natural largeness of his sympathy with things high and low, to break at once out of Delille's Virgil into Cotton's, like a boy let loose from school. When I have the pleasure of hearing him now, I forget his Virgilianisms, and think only of the delightful companion, the unaffected philanthropist, and the creator of a beauty worth all the heroines in Racine. "Mr. Campbell has tasted pretty sharply of the good and ill of the present state of society, and for a book-man has beheld strange sights. He witnessed a battle in Germany from the top of a convent (on which battle he has written a noble ode); and he saw the French cavalry enter a town, wiping their bloody swords on the horses' manes. Not long ago he was in Germany again, I believe to purchase books; for in addition to his classical scholarship, and his other languages, he is a reader of German. The readers there, among whom he is popular, both for his poetry and his love of freedom, crowded about him with affectionate zeal; and they gave him, what he does not dislike, a good dinner. There is one of our writers who has more fame than he; but not one who enjoys a fame equally wide, and without drawback. Like many of the great men in Germany, Schiller, Wieland, and others, he has not scrupled to become editor of a magazine; and his name alone has given it among all circles a recommendation of the greatest value, and such as makes it a grace to write under him. "I have since been unable to help wishing, perhaps not very wisely, that Mr. Campbell would be a little less careful and fastidious in what he did for the public; for, after all, an author may reasonably be supposed to do best that which he is most inclined to do. It is our business to be grateful for what a poet sets before us, rather than to be wishing that his peaches were nectarines, or his Falernian Champagne. Mr. Campbell, as an author, is all for refinement and classicality, not, however, without a great deal of pathos and luxurious fancy." Mr. Campbell's literary labours are perhaps too well known and estimated to require from us any thing more than a rapid enumeration of the most popular, as supplementary to this brief memoir. In his studies he exhibits great fondness for recondite subjects; and will frequently spend days in minute investigations into languages, which, in the result, are of little moment. But his ever-delightful theme is Greece, her arts, and literature. There he is at home: it was his earliest, and will, probably, be his latest study. There is no branch of poetry or history which has reached us from the "mother of arts" with which he is not familiar. He has severely criticised Mitford for his singular praise of the Lacedaemonians at the expense of the Athenians, and his preference of their barbarous laws to the legislation of the latter people. His lectures on Greek Poetry have appeared, in parts, in the _New Monthly Magazine_. He has also published _Annals of Great Britain, from the Accession of George III. to the Peace of Amiens_; and is the author of several articles on Poetry and Belles Lettres in the _Edinburgh Encyclopoedia_. Among his poetical works, the minor pieces display considerably more energy than those of greater length. The _Pleasures of Hope_ is entitled to rank as a British classic; and his _Gertrude_ is perhaps one of the most chaste and delicate poems in the language. His fugitive pieces are more extensively known. Some of them rouse us like the notes of a war trumpet, and have become exceedingly popular; which every one who has heard the deep rolling voice of Braham or Phillips in _Hohenlinden_, will attest. Neither can we forget the beautiful _Valedictory Stanzas_ to John Kemble, at the farewell dinner to that illustrious actor. Another piece, _the Last Man_, is indeed fine--and worthy of Byron. Of Campbell's attachment to his native country we have already spoken, but as a finely-wrought specimen of this amiable passion we subjoin a brief poem: LINES WRITTEN ON VISITING A SCENE IN ARGYLESHIRE. At the silence of twilight's contemplative hour, I have mused in a sorrowful mood, On the wind-shaken weeds that embosom the bower, Where the home of my forefathers stood. All ruin'd and wild is their roofless abode, And lonely the dark raven's sheltering tree: And travell'd by few is the grass-cover'd road, Where the hunter of deer and the warrior trode To his hills that encircle the sea. Yet wandering I found on my ruinous walk, By the dial-stone aged and green, One rose of the wilderness left on its stalk, To mark where a garden had been. Like a brotherless hermit, the last of its race, All wild in the silence of nature, it drew, From each wandering sun-beam, a lonely embrace For the night-weed and thorn overshadow'd the place, Where the flower of my forefathers grew. Sweet bud of the wilderness! emblem of all That remains in this desolate heart! The fabric of bliss to its centre may fall, But patience shall never depart! Though the wilds of enchantment, all vernal and bright, In the days of delusion by fancy combined With the vanishing phantoms of love and delight, Abandon my soul, like a dream of the night, And leave but a desert behind. Be hush'd, my dark spirit! For wisdom condemns When the faint and the feeble deplore; Be strong as the rock of the ocean that stems A thousand wild waves on the shore! Through the perils of chance, and the scowl of disdain, May thy front be unalter'd, thy courage elate! Yea! even the name I have worshipp'd in vain Shall awake not the sigh of remembrance again: To bear is to conquer our fate. Of a similar description are his "Lines on revisiting a Scottish River."[6] [6] See MIRROR, No. 257. Mr. Campbell contributes but little to the pages of the New Monthly Magazine: still, what he writes is excellent, and as we uniformly transfer his pieces to the _Mirror_, we need not recapitulate them. The fame of Campbell, however, rests on his early productions, which, though not numerous, are so correct, and have been so fastidiously revised, that while they remain as standards of purity in the English tongue, they sufficiently explain why their author's compositions are so limited in number, "since he who wrote so correctly could not be expected to write much." His Poetical pieces have lately been collected, and published in two elegant library volumes, with a portrait esteemed as an extremely good likeness. A contemporary critic, speaking of the superiority of Campbell's minor effusions, when compared with his larger efforts, observes, "His genius, like the beautiful rays of light that illumine our atmosphere, genial and delightful as they are when expanded, are yet without power in producing any active or immediate effect. In their natural expansions they sparkle to be sure, and sweetly shine; but it is only when condensed, and brought to bear upon a limited space or solitary object, that they acquire the power to melt, to burn, or to communicate their fire to the object they are in contact with." Another writer says, "In common with every lover of poetry, we regret that his works are so few; though, when a man has written enough to achieve immortality, he cannot be said to have trifled away his life. Mr. Campbell's poetry will find its way wherever the English language shall be spoken, and will be admired wherever it is known." * * * * * INDEX TO VOL. XIV. * * * * * Abad and Ada, a Tale, 404. Abydos, Siege of, 58. Aeolipile, The, 102. Agreeableness, 155. Alexander the Great, 22. American Aloe, 296. American Poetess, Memoir of, 340. Amulet, The, 331. ANECDOTE GALLERY, The, 123--158--191--254--427. Anniversary, by A.A. Watts, 423. Annuals for 1830, 221--275--322 to 336, 369 to 384. Antwerp Cathedral, Visit to, 286. Apsley House, 33--50. Argonaut, or Nautilus, 40. Arnott's Elements of Physics, 430. Autobiography of a Landaulet, 300--350. Bachelor's Revenge, 245. Bagley Wood Gipsies, 19. Battle of Bannockburn, 442. Bees, 439. Bees' Nests, 217. Best's Personal Memorials, 427. Bewick, the Engraver, 39--173--426. Birds, Colours of the Eggs of, 438. Bishops' Sleeves, 205. Bittern, American, 297. Black Lady of Altenoetting, 251. Blarney Castle described, 273. Boileau to his Gardener, 51. Bologna, Leaning Towers of, 369. Brimham Rocks, Lines on, 196. British Sea Songs, 297. British Artists, Lives of, 52. British Institution, The, 277--358. Brussels in 1829, 303. Burleigh House, Northampton, 290. Burmese Boat Races, 269. Butterflies, Changes of, 381. Byron, Lord, and Sir W. Scott, 109. Calculating Child at Palermo, 290. Camelopard, or Giraffe, 264. Campbell, T., Lines by, 154. Canterbury Cathedral, 20. Card, The, 339. Castle in the Air, 331. Cats and Kittens, 243--307--360. Chameleons, antipathy to black, 439. Charles II., Escape of, 100. Chestnut-tree, Large, 408. Christmas Day last, 433. City, a new one, 104. City feast, 164. Clifton described, 177--309. Coast Blockade Men, 84. Cobbett's Corn, 77--87. Cochineal Insect, 217--408. Coffee-room Character, 219. Colosseum, The, 431. Comic Annual, The, 374. Constantinople, 130--245. CONTEMPORARY TRAVELLER, 134--149, 260--278. Co-operative Societies, and Home Colonies, 425. COSMOPOLITE, The, 20--36--69--214. Cosmoramas and Dioramas, 430. Confession, The, a Sketch, 335. Cruise of H.M.S. Torch, 366. Cuckoo, The, 39. Curtius, a Dramatic Sketch, 357. Dan Dann'ly, Sir, 189. Davy, Sir H., Lines on, 69--116. Derwentwater, 152. Devereux, Sir William, 15. Dial, curious one at Whitehall, described, 345. Diet of various nations, 20--36. Drama, Notes on the, 201. Dress, Note on, 223. Driving Deer in Cheshire, 101. Drury Lane, ancient, 291. Duke's Theatre, Dorset Gardens, 209. Durham House, Strand, 82. Dugong, The, 439. Eagles, mode of destroying, 381. "Eating Mutton cold," 19. Eddystone Lighthouse, 123. Edie Ochiltree, 294. Egyptian Justice, 309. Eliza von Mansfield, a Ballad, 428. Emigrants, Lines to, 154. Emigration to New South Wales, 362. Emmanuel, the, 377. Epitaph in Butleigh Church, 12. Equanimity (from Horace), 259. Ettrick Shepherd and Sir W. Scott, 74. Etymological Curiosities, 357. Exercise, Air, and Sleep, Notes on, 211. Fair Fanariote, a Tale, 9. Fashionable Novels, 302. Favourite, Recollections of a, 236. Fearful Prospect, 429. FINE ARTS, 277--358--403. Flying Dragon, the, 217. Forget-me-not, the, 379. Franklin's Grave, 7. Friends of the Dead, 35. Friendship's Offering, 325. Fruits, English, described, 197. Gardens, Gleanings on, 419. Gas Lights, 248. GATHERER, the, in each No. Gem, the, 321. Genoese Customs, 178. Geographical Discoveries, 313. Germans and Germany, 311. Glammis Castle, Scotland, 225. Goose, eating the, 221. Gothic Architecture, Notes on, 403. Graysteil, a Ballad, 68. Grecian Flies, or Spongers, 420. Greece, Lines on, 99. Greeks, the Modern, 376. Grosvenor Gallery, Park Lane, 242. Guineas and Sovereigns, 304. Gurney's Steam Carriage, 194. Guy Mannering, 89. Hackney Coaches, 6. Hampton Court Palace, 97--116. Heads, English, 263. Head Wager, 89. Healths, pledging, 197. Hearthstone, the, a Tale, 118. Heathen Mythology, Lines on, 30. Hebrew Poets, 107. Hood's Comic Annual, 374. Hood's Epping Hunt, 232. Hopkinsonian Joke, 31. I'd be an Alderman, 408. I'd be a Parody, 97--116. Idiot, the, an Anecdote, 263. Illustrious Follies, 124. Incident at Fondi, 213. Incledon, Recollections of, 236. Indian Sultana in Paris, 7. Indigo, Cultivation of, 56. Ingratitude, Lines on, 51. Insects, History of, 347. Insect, Lines to an, 149. Iris, the, 384. Irish Independence, 136. Iron Plate, new, 13. Isabel, a Story, 358. Ivy, Varieties of, 120. Jack Jones, the Recruit, 412. Jenkins, Henry, 242. Jersey, recent Tour in, 260--278. Jews, History of the, 105. Juvenile Forget-me-not, 269, 383. Juvenile Keepsake, 412. Juvenile Poetess, Memoir of, 343. Keepsake, the, 372. Kemble, John, and Miss Owenson, 93. King's Evil, Touching for, 437. Landon, Miss, Poetry by, 267. Landscape Annual, the, 370. La Perouse, Note on, 207. Laing, Major, Death of, 219. Lardner's Cyclopedia, 442. Lay from Home, 115. Libertine's Confession, 59. Liberty, on, 214. Life, Duration of, 174. Limoeiro, at Lisbon, described, 337. Lines in an Album, 100. ---- by Miss Mitford, 124. ---- to ------------, 308. Lion-eating and Hanging, 8. Lion's Roar, the, 290. Literary Problem, 178. -------- Souvenir, 334--371. Living, good and bad, 89. Lost Lamb, 447. Localities, chapter on, 146--226. Locke, Lord King's Life of, 12. Lone Graves, the, 18. London, Lines on, 154. ------ View of, 249. Lord Mayor's Day, Lines on, 350. Love, a Ballad, 12--68. Lucifer, a Tale, 325. Lucretia Davidson, Memoir of, 340. Mahomet and his Mistress, 339. Major's Love Adventure, 285. MANNERS and CUSTOMS, 38--101--178--197--231--311--375. Mantis, or Walking Leaf, 306. Margate described, 141. Maria Gray, a Ballad, 173. Masaniello, character of, 153. Mercer's Hull and Old Cheapside, 17. Milan Cathedral described, 2. Minstrel Ballad, 100. Minstrels and Music Licenses, 418. Mocha Coffee, 47. Mole, the, 281--297--360. Moncrieff's Poems, 23. Monkish Verses translated, 163. Mont Blanc, ascent of, 71. Months, Saxon Names for, 232. Morgan, Lady, 382. Mozart, Youth of, 254--265. Murat, death of, 83. NATURALIST, The, 4--39--86--120--174--217--281--297--306--381--438. Nautilus, Lines on, 180. New York, 249. New Year's Gift, 293. Ney, Marshal, Memoir of, 420. Night in a Sedan Chair, 183. NOTES OF A READER, 6--46--61--71--93--120--152--186--220--247--297 --347--360--423. NOVELIST, The, 9--58--89--118--213--244--358--404. Oaks, Superstition against felling, 375. Observatory at Greenwich, 401. Old Man's Story, The, 283. OLD POETS, 4--140--271--407. Once Ancient, 85. Opium-eating in Turkey, 270. Out of Season, a Lament, 291. Oyster catching Mice, &c., 87. Palestine described, 107. Paley, Recollections of, 158. Paraphrase on Heber, 181. Pendrills, Family of, 35. Periodical Literature, 440. Peru, Adventure in, 230. Phillips', Sir R., Personal Tour, 377. Physiognomy of Houses, 100. Plantagenets, Last of the, 46. Planters, Royal, 73. Pool's Hole, Derbyshire, 19. Poor, Laws for the, 299. Pope's Temple at Hagley, 49. Popular Philosophy, 430. Proverbs, Old, illustrated, 133. Provincial Reputation, 409. Psalmody, Improved, 114--370. Punch, How to Make, 8. Pursuit of Knowledge, 108--138. Quadrupeds and Birds feeding Shell-fish, 4. Red Indians, Journey in search of, 134--149. Regent's Park, 12. RETROSPECTIVE GLEANINGS, 11--76--163--246--308--437. River, Lines to a, 254. Rosamond, Fair, Portrait of, 86. Royal Exchange, The original, 257. Ruined Well, Stanzas, 372. Rustic Amusements, 3. St. Dunstan's, Fleet-street, 145--243. St. Peter's Church, Pimlico, 113. St. Sepulchre's Bell, 259. Saline Lake in India, 13. Sea-side Mayor, 231. Sea Pens, Cuts of, 281. Seasons, Sonnets on, 210. Season in Town, 30. Select Biography, 340. Shakspeare's Brooch, 201--372. Sheffield, Picture of, 377--413. Sighmon Dumps, 169--420. SELECTOR, The, 13--22--40--52--105--136--156--197--232--267--283--442. Shumla described, 186. Siamese Twins, Account of, 353. Singing Psalms, 375. Sion House, Isleworth, 161. Sisters of Charity, 69. SKETCH BOOK, The, 24--74--100-169. Skimington Riding, 183--231--235--375. Skying a Copper, by Hood, 280. Sleep, Curious facts on, 229. Soda Water, Dr. Paris, on, 69. Southern African Letter, 315. Southey, Dr., 61--426. Sparrow, Address of, 148--403. Spiders, 439. SPIRIT OF DISCOVERY, 12--56-108--185--206--282--313. SPIRIT OF THE PUBLIC JOURNALS, 12--29--45--59--77--87--109--124--141 --155--173--189--219--237--251--263--300--315--366--382--408--428--440. Spirit of the Storm, 235. Splendid Annual, The, 24. Spring Tides, 418. Staubbach, Falls of the, 369. Starfish, Branched, 307. Stone, Ancient, at Carmarthen, 20. Stone, Crosses and Pillars, 247. Storm raising, 38. Sussex Cottages, 6. Southwell Church, 168. Stratford, Lord, Letter of, 246. Superstition, Cure for, 383. Taylor Bird, Nest of, 120. Temple New Buildings, 417. Theatres, Ancient and modern, 202. Thief, The general, 372. Time, Lines on, 214. Tomb, Enigma on, 214--292. Topographer, The, 309. Touching for the Evil, 308. Toyman is abroad, 45--60. Tunbridge Wells in 1748, 65. Turkey, Note on, 222. Twin Sisters, 402. Tyre, Ancient, 15--115. Unicorn, The, 142. Veil, Origin of the, 103--181. Verona described, 321. Vidocq, Memoirs of, 13--40--156--164. Vine, Lines on, 214. Virgil's Tomb, Description of, 432. Voltaire at Ferney, 81--191. Watchman's Lament, 88. Waterloo, Battle of, 268. Watling Street, Ancient, 34. Whitehall, Curious Dial at, 345. Whitehall, Paintings at the Banquetting House, 436. Winchester, Sonnet on, 258. Wreck on a Coral Reef, 373. Young Lady's Book, 445. Zaragoza, Fall of, 436. Zoological Gardens, 264. Zoological Keepsake, 447. Zoological Society, 13--57. Zoological Work, New, 86. * * * * * LIST OF ENGRAVINGS. VOL. XIV. * * * * * _PORTRAIT OF THOMAS CAMPBELL, ESQ._ ENGRAVED ON STEEL. Milan Cathedral. Mercers' Hall, Cheapside. Apsley House. Argonaut, or Paper Nautilus. Pope's Temple, at Hagley. Tunbridge Wells in 1748. Voltaire's Chateau, at Ferney. Hampton Court. Plan for a New City. St. Peter's Church, Pimlico. Nest of the Taylor Bird. Constantinople. St. Dunstan's, Fleet-street. Sion House. Southwell Church. Clifton. Guruoy's Steam Carriage. Shakspeare's Brooch. Duke's Theatre, Dorset Gardens. Flying Dragon. Glammis Castle. Grosvenor Gallery, Park-lane. Royal Exchange (the Original). Blarney Castle, Cork. Sea Pens. Burleigh, Northamptonshire. Mantis, or Walking Leaf. Branched Star-fish. Verona. The Limoeiro, at Lisbon. Curious Dial. Siamese Twins. Fall of the Staubbach. Leaning Towers at Bologna. Meeting a Settler. Breaking-up no Holiday. Royal Observatory, Greenwich. Cochineal Insect and Plant. New Buildings, Inner Temple. Virgil's Tomb. End of the Project Gutenberg EBook of The Mirror of Literature, Amusement, and Instruction, by Various *** END OF THIS PROJECT GUTENBERG EBOOK MIRROR OF LITERATURE, NO. 407 *** ***** This file should be named 11258.txt or 11258.zip ***** This and all associated files of various formats will be found in: https://www.gutenberg.org/1/1/2/5/11258/ Produced by Jonathan Ingram, David Garcia and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at https://gutenberg.org/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need, is critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation web page at https://www.pglaf.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Its 501(c)(3) letter is posted at https://pglaf.org/fundraising. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email business@pglaf.org. Email contact links and up to date contact information can be found at the Foundation's web site and official page at https://pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit https://pglaf.org While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including including checks, online payments and credit card donations. To donate, please visit: https://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Each eBook is in a subdirectory of the same number as the eBook's eBook number, often in several formats including plain vanilla ASCII, compressed (zipped), HTML and others. Corrected EDITIONS of our eBooks replace the old file and take over the old filename and etext number. The replaced older file is renamed. VERSIONS based on separate sources are treated as new eBooks receiving new filenames and etext numbers. Most people start at our Web site which has the main PG search facility: https://www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks. EBooks posted prior to November 2003, with eBook numbers BELOW #10000, are filed in directories based on their release date. If you want to download any of these eBooks directly, rather than using the regular search system you may utilize the following addresses and just download by the etext year. https://www.gutenberg.org/etext06 (Or /etext 05, 04, 03, 02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) EBooks posted since November 2003, with etext numbers OVER #10000, are filed in a different way. The year of a release date is no longer part of the directory path. The path is based on the etext number (which is identical to the filename). The path to the file is made up of single digits corresponding to all but the last digit in the filename. For example an eBook of filename 10234 would be found at: https://www.gutenberg.org/1/0/2/3/10234 or filename 24689 would be found at: https://www.gutenberg.org/2/4/6/8/24689 An alternative method of locating eBooks: https://www.gutenberg.org/GUTINDEX.ALL