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PASQUELLE'S FRENCH COURSE. 27th Edition. A new method of learning French, embracing both the Anslytic and Synthetic modes of Instruction; being a plain and practical way of acquiring the art of Reading, Writing, and Speaking French. By Louis FASQUELLE, LL.D., Prof. Modern Languages, University of Michigan. Price $1.25. This popular work has already been introduced into hundreds of the best Literary Institutions in New York and its vicinity, where it is used with great satisfaction. From a great number of commendatory letters and reviews, we find only room for the following specimens: From Edward North, LL.D.. President and Professor of NEW YORK, October 28, 1854. "It gives me pleasure to say that I have introduced Fasquelle's French Course into the programme of studies of Hamilton College, regarding it as, in a high degree, philosophical and practical, and superior to any thing of the kind with which I am acquainted." From Joseph William Jenks, Professor of Language "Fasquelle's French Course, on the plan of Woodbury's Method with the German,' is superior to any other French Grammar I have ever met with, for teaching French to those whose mother tongue is English. It combines in an admirable manner, the excellence of the old or classic, and the new or Ollendorfian methods, avoiding the faults of both." From A. Hart, Professor of Languages. NEW ORLEANS, March 15, 1855. "After over thirty years experience in teaching French, and having tried the methods of Ollendorf. Wanostock, Levisac, &c., I am convinced that Fasquelle's is the most practically useful course published, and can alone satisfy the wants of a liberal and accomplished education." A NEW JUVENILE, by COUSIN ALICE, entitled "Out of From Professor George Bush, D.D., New York University. GRACE AND CLARA, by Miss MCINTOSH. JESSIE GRAHAM; or, Friends Dear, but Truth Dearer. By THE MYSTERIOUS STORY-BOOK. RICHARD THE FEARLESS. 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It furnishes a full course of instruction in the Rules of Parliamentary Practice, grounded on the best authorities, and suited admirably to the use of unpractised debaters. It shows the advantage of well-conducted Debating Societies, and the mode of managing debatable questions in them, thereby discovering to the young debater the true end of logical dispu tation, and the true mode of securing it. It illustrates the practical working of an orderly debate, by giving debates in full on interesting questions, and so makes the THE IROQUOIS; or, The Bright Side of Indian Cha- transaction to assume a sort of dramatic form and interest. racter. 1 vol. 12mo. Illustrated. $1. It furnishes Debates in Outline to be filled out, according to the taste and ability of the parties that use them, and so gives heaithful exercise by giving proper aid in the preparation of matter for a discussion. 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Hollingsworth gives special attention to ob and Private Collectors. this: "Beauty is not an inherent property or quality of objects at all, but the result of the accidental relations in which they may stand to our experience of pleasures or emotions; and does not depend upon any particular configuration of parts, proportions, or colors in external things, nor upon the unity, coherence, or simplicity of intellectual créations-but merely upon the associations which, in the case of every individual, may enable these inherent, and otherwise indifferent qualities, to suggest or recall to the mind emotions of a pleasurable, or interesting description. It follows, therefore, that no object is beautiful in itself." And again; "The beauty which we impute to outward objects is nothing more than the reflection of our own inward emotions, and is made up entirely of certain little portions of love, pity, or other affections, which have been connected with these objects, and still adhere as it were to them, and move us anew whenever they are presented to our observation." He thinks his theory calculated to put an end to all those perplexing and vexatious questions about the standard of taste, which have given occasion to so much impertinent, and to so much elaborate discus sion. And this, upon his plan, is certainly most effectually accomplished, by making each man's opinion his own standard. and thus denying that a "standard of taste," the subject in dispute, exists at all. He says:— "If things are not beautiful in themselves, but only as they serve to suggest interesting conceptions to the mind, then every thing which does in point of fact suggest such a conception to any individual, is beautiful to that individual; and it is not only quite true that there is no room for disputing about tastes, but that all tastes are equally just and correst, in so far as each individual speaks only of his own emotions. For a man himself, then, there is no taste that is either bad or false." This concluding sentence is surely untenable on the mere ground of giving pleasure to, or annoying others. A man who painted his house such a variety of colors as to be very disagreeable to his neighbors, how beautiful soever it might be to himself from associations, would certainly be justly said, to have painted it in bad taste. Nay more, supposing such combination of forms and colors as, on the above supposition, should be the highest beauty to an artist, and that he depicted them for his own gratification, and sought no public exhibition of them; yet if he delighted in painting the human form in every conceivable position of agony, writhing in every imaginable torture, embodying his own fierce satisfaction in human suffering, one universal human judgment would pronounce his taste depraved. And the judgment would be proved correct by the sad effects produced by such pursuits on the artist's mind. We have re-stated Lord Jeffrey's views, at the risk of a little repetition, that they might not be thought to be misconceived. It is now our purpose to make some strictures on them and to test their accuracy. It will be recollected that he says:— "The most beautiful object in nature, perhaps, is the countenance of a young and beautiful woman;-and we are apt at first to imagine, that independent of all associations, the form and colors which it displays are in themselves lovely and engaging." This opinion he denies, asserting that the ingredients of the beauties we see, are the signs of youth and health; of innocence, gaiety, sensibility, intelligence, delicacy or vivacity." Further on, he admits that certain forms have beauty from their classical associations. Let us take this so called beautiful human face, and indifferently change its nose for a Grecian or a Roman one, is any man so bigoted to this theory, as to deny that, for what we will for the present call want of symmetry or unity, the face has lost its beauty, although its features and tints are still the signs of youth and health, of innocence, gaiety, sensibility, &c., with what should be an additional charm, the classical associations connected with the nose. Besides, are there not faces, which, so to speak, are the ugly masks of a him. "" we In noticing the theory of the Père Buffier, adopted When Diderot was brought forward with his We have heard ere this of earnest search and perilous enterprise vainly undertaken to discover Lord Jeffrey seems to us to have been led into 19 aw. Against these errors he might have found 1 ufficient warning in the pages of Mr. Alison, who says: "In the investigation of causes, the first and most important step is the accurate examination of the effect to be explained. In the science of mind, however, as well as in that of body, there are few effects altogether simple, or in which accidental circumstances are not combined with the proper effect. Unless, therefore, by means of repeated experiments, such accidental circunstances are accurately distinguished from the phenomena that permanently characterize the effect, we are under the necessity of including in the cause, the causes also of all the accidental circumstances with which the effect is accompanied. "With the emotions of taste, in almost every instance, many other accidental emotions of pleasure are united; Herein may be found the key to the unsoundness of the theory we are considering. The true domain of the beautiful is not ascertained. The heterogeneous assemblage of costumes that fashion has ever canonized, the various orders of architecture, whether Grecian, Roman, or Gothic, the marble Temple and the wooden Conventicle, Manchester calico and Gobelin tapestry, Hottentot Venuses and the Apollo Belvidere, the feet of Chinese ladies and the arched instep of the Spanish Senorita, the Circassian "Pride of the Harem," the Anglo-Saxon belle and Sambo's dark-skinned sweetheart, gorgeous sunsets and gouty slippers, steam engines, forcing pumps, all the varieties of poetry, laughter, weeping, thunder, the seasons, landscapes, pictures, statuary, national tastes, individual preferences, virtues, habits, and a host besides of discordant objects, are all set down in one category as being permanently, or having been transiently reckoned beautiful. And then, our Essayist thinks it incumbent upon him to discover a law sufficiently cases. We feel bound again to quote his own words comprehensive to account for all these different lest we should be supposed to exaggerate for the sake of making a "slashing" Article; for it does certainly seem incredible, that such an acute reasoner should have failed so entirely to distinguish things that differ. Arguing to show the falsity of the existence of a separate sense or peculiar faculty for perceiving beauty, he writes as follows,— "The little shopkeeper secs a beauty in his roadside box, and in the staring tile roof, wooden lions, and clipped boxwood, which strike horror into the soul of the student of the picturesque; while he is transported are nothing but ugly masses of mouldering stone, in in surveying the fragments of ancient sculpture, which It is needthe judgment of the admirer of neatness. less, however, to multiply instances, since the fact admits of no contradiction. But how can we believe that beauty is the object of a peculiar sense or faculty, when persons undoubtedly possessed of the faculty, and even in an eminent degree, can discover nothing of it in objects where it is distinctly felt and perceived by others with the same use of the faculty?” He is doubtless right in his rejection of the sixth We quote the passage to show how decided sense. is his attribution of beauty according to the taste The necessary conclusion is, of the individual. that the objects so embellished were to be accounted for by the law he sought to discover. But, it may be asked, is not beauty so attributed, and how could it be, if the object were not really beautiful? We answer, It is ;-but the fact may be accounted for in a different manner. Blackwood has stated and explained this admirably, thus: The writer in "In music, of two melodies not very diverse in merit, the worse may be preferred even by a tolerable critic, in consequence of the pleasing memories with which in his mind it may be associated, or for the sake of the pretty lips by which it may be sung. Nay, we may go further than this, and allow that, at times, the emotion of the beautiful is excited within us by objects which have no real claims upon our aesthetical admiration;-just as the lover frequently ascribes to the object of his adoration charms and graces which are inviThe loved,' says the sible to every eye but his own. proverb, are always lovely. In fact, provided one be in a state of enjoyment, however produced, he is inclined to regard as beautiful any objects of taste that may be presented to him. For, just as it is the province of perfect objects to excite the emotion of the beautiful in the soul, so, inverting the process, it is the province of a perfect, or in other words, delightful emotion, |