Correspondence of a Lover.

affable nod― do you admire this dance?---a pause—' good dancers are always fond of dancing-I am sure you are very fond of it'-do you admire music?-there is so much harmony in your features that I am persuaded you sing'oh! I could recount to you a hundred similar methods of sustaining a conversation in which neither sense nor sincerity take any share, and which man makes it his business to render usual with us women."

I cannot write any more about this provoking beauty, who laughed while she took me to pieces, and absolutely made me ashamed of having addressed her in any language but that which suited a philosopher.

16th January, 18

It is in vain I endeavour to be calm-it is in vain 1 look forward to your presence to quiet the troubles it cannot allay the misery of a lover is briefly explained- unhappy in the time of absence, and unhappy when the eyes of his mistress are fixed upon him-he seeks consolation in looks that have already robbed him of his peace-he feels the eternal torment of eternal dissatisfaction-he is uneasy without cause-fretful and impatient-eager for society which when obtained yields no relief-these are the marks and characteristics of the despairing heart. Do I despair?-oh! I have called my idolatry by a thousand enthusiastic names, and in the forgetfulness of every duty, I have persuaded myself that my love for you comprehends all—

where did'st thou steal these orbs?

From Heaven, and 'tis religion to adore them!

Your merit has not been without its reward in enslaving all the hearts around you. I have some reason to believe that Mr.- is not quite so free as before he went to Mrs. F's party. Yet, Eleanor, you were not favorable to him on that occasion, but he has pretensions which I cannot boast of. Why does my heart thus beat wildly, as if there was no stay to its pulsation, and its agitation was its very existence? I do not think you have any feeling for him beyond mere politeness-but, why do you dance with him?-why do you answer his various questions?-why do you not leave him abruptly, and join the card-players?-any thing, every

Public Institutions, Fine Arts, &c.

thing to avoid the importunities of a man whose life has been so tutored in the school of fashion and insincerity that flattery is a pastime with him. I am running into extravaganceI fear you will not pardon me-but, Eleanor, believe me I would not willingly lose even the esteem you profess for mewillingly?-why am I so pettish?-not for the whole world would I forfeit your good opinion-not for the whole world would I incur your displeasure.

*

*

Tis true!-Eleanor, farewell for ever!-the meekest heart could no longer suffer in agony like mine to be requited with such indifference. I met you in the street-my friend was with you, and you passed me with a cold and careless acknowledgment that scarcely admitted you had recognised me. Oh! by the past, the hours that have seen and left me wretched, can you forget how much I have endured for you-can you forget that I have followed you-but I will not kneel to you-my fate is in the hands of Heaven, not your's— my pride, my being lay at your feet and you have trampled on them-enough, he for whom I am thus rejected shall answer for it-this new-fangled creature of your's, whom you have just won to your net-if I have existence this night the world shall not contain us beth-1 do not complain nor threaten in a lady's ear-but I believe I am mad.-I will not, cannot say more--the unfortunate Charles is lost for ever!

The sources of Knowledge which should be resorted to by the conductors of a Miscellany like the INQUISITOR, ought to be as various and distinct as the tastes of those whom it is their province to entertain. Of those matters that offer at once instruction and amusement, there are none so captivating or so valuable as articles of a literary character-to these, therefore, the first place should be granted; but in selecting subjects it is necessary to choose not only what is interesting, but what, although tedious in detail, may prove ultimately useful: to this end another track must be pursued, less decorated with flowers, and more deserted, but which leads to some object worthy of attainment. The labor of following a dull and insipid theme through all its bearings and varieties, while the mind is vacillating with a contrary impulse, is only to be repaid

Review of Theodore Cyphon.

in the reflection that some benefit has been rendered to society,—some good imparted to others; and we would feel ourselves forgetful of our duty, did we omit an opportunity of promoting the improvement of any system, which might be attended by a beneficial result. We have premised so far in order to open our future intentions of presenting to our readers, as occasion will permit, observations upon those Public Institutions whose objects and design are the advancement of Education, the patronage of the liberal Arts, or the good of Society. The favors of Correspondents to whom local advantages may give a more minute knowledge of such establishments will always be gratefully acknowledged, and from those who would be unwilling to undertake the trouble of throwing their com munications into a regular shape, we will thankfully receive the heads of whatever information they will consider useful to bestow. The origin and progress of the ancient establishments of this city we will avoid, as they have been already amply treated of in Whitelaw and Walsh's History of Dublin-but their tendencies, and the manner in which they are conducted, with the application of their consequences will always be acceptable.

The fine Arts are a subject of such general interest that we will be anxious to devote to them more than common attention—to such Correspondents therefore, as will lend us their assistance in this branch, we will feel considerably indebted, as we are earnest in rendering our pages worthy of the continuance of that patronage which has already been bestowed on them so liberally. The progress of the Arts in Italy-the historical outline of the gradual developement of genius through the time of Leo X. and the succeeding ages-with remarks on the talent of our own Country, and the works of her celebrated masters-comparisons between the ancients and moderns-the characters of the Dutch, Florentine, and French Schools, with illustrations selected from eminent painters—the impartial delineation of the merits and defects of celebrated pieces-will all meet our warmest thanks, and be ensured a reception in the Dublin Inquisitor.

REVIEWS.

Critical remarks on Theodore Cyphon, or the benevolent Jew, a novel, in 2 vols. by George Walker, author of the House of Tynian, &c.

Dublin-Joshua Porter.

In this present age we must not be astonished if we hear of six or seven novels with new titles every month; but it must really excite our wonder, if we meet any idea which has not already been run through all its changes. The same images must necessarily be employed which our forefathers have used, for the treasures of the ideal world have been exhausted, and our principal (indeed, I would almost say,

Review of Theodore Cyphon.

our only) merit in what we call original composition, consists in the judgment with which we select and arrange the notions of our predecessors. Yet modern productions should compensate the want of originality by their superior accuracy of delineation; and on the same principle by which the arts and sciences are in a state of progressive improvement, so ought they to be more correct from our power of perceiving and expunging every effect every thing which has tended to the disadvantage of their prototypes. New novels are in themselves sufficient to stock the shelves, or fill the catalogue of a circulating library-in their chastened and corrected style, we must prefer them to the love-sick tales which formerly issued from the press, and may rank many of them with the classical productions whose merit has gained them a place in every library; and we must therefore deprecate any addition to the formidable list of new publications by the reprint of any old novels except such as are eminently distinguished for delicacy of sentiment, truth of delineation, or beauty of composition.

About twenty-five years ago, we read Theodore Cyphon, which at that time created a considerable degree of interest in Dublin; but from the unfavorable impression which it left on our recollection, we were astonished at the temerity of the present publisher in presenting it a second time to the world. Perhaps its undoubted possession of the last of the three qualifications, which we have above recited, has influenced Mr. Porter in his choice; but in his praise-worthy attempt to rescue the work of genius from oblivion, he might have chosen many others of equal value of composition, which would not labor under the imputation of an immoral tendency. There are novels with which he must be acquainted every way entitled to revivification; but we must express our unqualified disapprobation of many of the sentiments and descriptions which disgrace the pages of Theodore Cyphon. If its defects were only those of style, we might pass them in silence; but it is our dearest duty to guard against the silent approaches of immorality or irreligion.

Mr. Porter might have a still farther inducement to republish this novel. He must be well informed of the prevailing spirit of the times. Several circumstances have conspired in working a gradual change in our taste, and the commanding genius of Lord Byron has at length given to it a decided turn, particularly favorable for the introduction of gloominess, horror, and desolation, in every work of the

Review of Theodore Cyphon.

imagination. In our youth we were fond of these light creations of the fancy, which were clothed in all the delightful visions of youth and beauty. Every maid was faultless in mind and person-every youth was a pattern of honor and gallantry-every tale ended happily, and the hero's sufferings and constancy were rewarded with the hand of the matchless paragon whom his soul adored-virtue always met its reward and vice its punishment.-But now a series of troubles and disappointments ends invariably in a death of horror-the hero and heroine are introduced to each other, only to increase the natural afflictions of life-every opportunity of enjoyment becomes by some unlucky chance an addition to their wretchedness-and we can no longer close our book with the delightful sensation of having accompanied the object of our solicitude through a siege of troubles" to some bright haven of rest." This change of public taste we assign as a principal cause of the re-appearance of Theodore Cyphon; and when we recollect how much more forcibly we are affected by circumstances of a tragic nature, than by the common occurrences of life, we would not wonder if its faults should be overlooked or pardoned in consideration of its terrible catastrophe.

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Yet even for the taste of the present day, the leading incidents of Theodore Cyphon are too shocking. It is a tale of gloominess at which the soul of humanity must shudder, while it pronounces the utter impossibility of the existence of such characters and so much vice. Offences, whose frequency or whose temptation render caution necessary, should be exposed in their proper colors, but there are pictures of guilt which it is the height of cruelty to exhibit to the inspection of purity-crimes and infirmities to which even an allusion is disgusting. Danger may be pointed out; but there is no necessity to introduce innocence to the revolting scenes of human degradation, which, like a public execution, render the heart familiar with thoughts of vice, and at the same time callous to all the more tender impressions of real sensibility. Female purity is of too delicate a texture to be exposed to the slightest chance of contamination; and though such crimes as create our abhorrence of Theodore's father and uncle, such horrible persecutions as form the basis of his own misfortunes, might have occurred in the world, yet it should not be the office of a novelist to blazon them in all their offensive minuteness to those, whose best portion is their innocence.