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In those prescient views by which the genius of Lord Bacon has often anticipated the institutions and the discoveries of succeeding times, there was one important object which even his foresight does not appear to have contemplated. Lord Bacon did not foresee that the English language would one day be capable of embalming all that philosophy can discover, or poetry can invent; that his country would at length possess a national literature of its own, and that it would exult in classical compositions, which might be appreciated with the finest models of antiquity. His taste was far unequal to his invention. So little did he esteem the language of his country, that his favourite works were composed in Latin; and he was anxious to have what he had written in English preserved in that "universal language which may last as long as books last."
It would have surprised Bacon to have been told that the most learned men in Europe have studied English authors to learn to think and to write. Our philosopher was surely somewhat mortified, when, in his dedication of the Essays, he observed, that, "Of all my other works, my Essays have been most current; for that, as it seems, they come home to men's business and bosoms." It is too much to hope to find in a vast and profound inventor, a writer also who bestows immortality on his language. The English language is the only object, in his great survey of art and of nature, which owes nothing of its excellence to the genius of Bacon.
He had reason, indeed, to be mortified at the reception of his philosophical works; and Dr. Rowley, even, some years after the death of his illustrious master, had occasion to observe, "His fame is greater, and sounds louder in foreign parts abroad than at home in his own nation; thereby verifying that Divine sentence, 'A Prophet is not without honour, save in his own country and in his own house,'" Even the men of genius, who ought to have comprehended this new source of knowledge thus opened to them, reluctantly entered into it: so repugnant are we to give up ancient errors, which time and habit have made a part of ourselves.
D'Israeli.
THE LILIES OF THE FIELD.
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Flowers! when the Saviour's calm, benignant eye Fell on your gentle beauty; when from you That heavenly lesson for all hearts he drew. Eternal, universal as the sky; Then in the bosom of your purity A voice He set, as in a temple shrine, That Life's quick travellers ne'er might pass you by Unwarn'd of that sweet oracle divine. And though too oft its low, celestial sound By the harsh notes of work-day care is drown'd, And the loud steps of vain, unlist'ning haste, Yet the great lesson hath no tone of power, Mightier to reach the soul in thought's hush'd hour, Than yours, meek lilies, chosen thus, and graced. Mrs. Hemans. |
POMPEII.
The earliest and one of the most fatal eruptions of Mount Vesuvius that is mentioned in history took place in the year 79, during the reign of the Emperor Titus. All Campagna was filled with consternation, and the country was overwhelmed with devastation in every direction; towns, villages, palaces, and their inhabitants were consumed by molten lava, and hidden from the sight by showers of volcanic stones, cinders, and ashes.
Pompeii had suffered severely from an earthquake sixteen years before, but had been rebuilt and adorned with many a stately building, particularly a magnificent theatre, where thousands were assembled to see the gladiators when this tremendous visitation burst upon the devoted city, and buried it to a considerable depth with the fiery materials thrown from the crater. "Day was turned to night," says a classic author, "and night into darkness; an inexpressible quantity of dust and ashes was poured out, deluging land, sea, and air, and burying two entire cities, Pompeii and Herculaneum, whilst the people were sitting in the theatre."
Many parts of Pompeii have, at various times, been excavated, so as to allow visitors to examine the houses and streets; and in February, 1846, the house of the Hunter was finally cleared, as it appears in the Engraving. This is an interesting dwelling, and was very likely the residence of a man of wealth, fond of the chase. A painting on the right occupies one side of the large room, and here are represented wild animals, the lion chasing a bull, &c. The upper part of the house is raised, where stands a gaily-painted column—red and yellow in festoons; behind which, and over a doorway, is a fresco painting of a summer-house perhaps a representation of some country-seat of the proprietor, on either side are hunting-horns. The most beautiful painting in this room represents a Vulcan at his forge, assisted by three dusky, aged figures. In the niche of the outward room a small statue was found, in terra cotta (baked clay). The architecture of this house is singularly rich in decoration, and the paintings, particularly those of the birds and vases, very bright vivid.
At this time, too, some very perfect skeletons were discovered in a house near the theatre, and near the hand of one of them were found thirty-seven pieces of silver and two gold coins; some of the former were attached to the handle of a key. The unhappy beings who were perished may have been the inmates of the dwelling. We know, from the account written by Pliny, that the young and active had plenty of time for escape, and this is the reason why so few skeletons have been found in Pompeii.
In a place excavated at the expense of the Empress of Russia was found a portable kitchen (represented above), made of iron, with two round holes for boiling pots. The tabular top received the fire for placing other utensils upon, and by a handle in the front it could be moved when necessary.
THE NIGHTINGALE AND GLOWWORM.
| A Nightingale that all day long Had cheer'd the village with his song, Nor yet at eve his note suspended, Nor yet when even-tide was ended— Began to feel, as well he might, The keen demands of appetite: When, looking eagerly around, He spied, far off upon the ground, A something shining in the dark, And knew the glowworm by his spark: So stooping down from hawthorn top, He thought to put him in his crop. The worm, aware of his intent, Harangued him thus, right eloquent:— "Did you admire my lamp," quoth he, "As much as I your minstrelsy, You would abhor to do me wrong, As much as I to spoil your song; For 'twas the self-same power Divine Taught you to sing and me to shine, That you with music, I with light, Might beautify and cheer the night." The songster heard his short oration, And, warbling out his approbation, Released him, as my story tells, And found a supper somewhere else. Cowper. |
THE INVISIBLE WORLD REVEALED BY THE MICROSCOPE.