MONTHLY CALENDAR OF FASHION.

THAT power, justly styled "motley," was never, we believe, more diversified than at the present time. Almost every female seems now to study what will best suit her countenance, and add grace to her form; this is what we have long recommended; yet even now, our counsel, with many, has been bestowed in vain. We are not in the habit of decrying a reigning fashion; we merely warn the swarthy and the ill-made to guard against the extremes of full gowns and glaring colors, which might suit the fair and the majestic.

We

The few clokes which continue to be worn, are confined to carriages. lately saw one of a very superb kind, made of black velvet: it was trimmed round with zibeline, and lined with amber satin; it had a standing-up collar, clasped in front by a splendid brooch of various jewels. The satin pelisses, except being of lively spring-colors, have undergone no change in their make since the last month; Thibet shawls still continue in favor, and the out-door costume is at present not altogether decided.

A few colored bonnets now relieve the monotony of black velvet. One of rosecolored satin, trimmed with black and pink chequered gauze riband, with a very broad and rich black blond at the brim, pleased us much by its taste and becoming shape. Bonnets are placed back ward, and tied down close on each side. Some of blue, trimmed with blue and yellow riband, have appeared, and these promise to be very fashionable during the spring.

Norwich crape, poplins, and merino, are much in favor for half-dress: the long sleeves are very wide, and the colerette pelerines of lace or embroidery on muslin are of such an enormous breadth, and give to the bust and shoulders such an amazing extent, as would make the most Herculean ticket-porter "hide his diminished form." Satin dresses and those of gros de Naples, of light colors, are much admired at concerts, and other evening meetings where very full dress is not required. Over the broad hems at the borders of ball-dresses of white crape, are sometimes placed light wreaths of flowers, or an embossed pattern of vine-leaves in green satin. Colored crape is the favorite material for dresses at private balls. We were favored with a sight of a very beautiful evening dress, intended for a lady of

rank and title, lately married; it was of a rich and exquisitely fine blond: the sleeves were long, and were separated in several places down the arm by bracelets and armlets, clasped by diamonds; the corsage was à la Sevigné, and in the centre of the drapery across the bust was a diamond brooch.

Whether the hair is arranged in bows or in a mass of curls, we must say, we find it too much elevated, in general, on the summit of the head. At the base of these bows are plaits twisted round, which give to this style an unpleasant, heavy appearance. The curls on each side of the face are so parted as to discover much of the forehead. Strings of pearls and ears of gold corn are favorite ornaments on the hair at dress eveningparties. Black velvet turbans and those of white crêpe-aerophane are much in request with matronly ladies; they are finished with exquisite taste, and it is a kind of head-dress which seems to set off every female countenance. The Moabitish turbans, with a mentonniere under the chin, of blond, are often seen on elderly ladies. The cardinal-béret-toque, of bright red, crowned with white plumage, is still in favor at the Opera-house, as are also black velvet hats and berets enriched with diamonds or pearls. White esprit feathers are often seen on black or purple velvet berets; and some of these, for half-dress, are seen trimmed with blond.

The colors most admired for mantles, pelisses and gowns, are the bird-of-paradise yellow, bright geranium, pink, foresters'-green, lemon-color, and violet; for turbans and bonnets, Mazarine-blue, celestial-blue, pink, willow-green, ruby, emerald-green, jonquil, and pomegranate.

MODES PARISIENNES.

The only change in the envelope department, is a steam-yellow satin pelisse, or of a rose-color, or the marshmallowblossom; and, though the season now promises mildness, they are well wadded; they are made remarkably plain.

Hats of black satin are much worn; some of them are ornamented with feathers, but almost all with blond and puffs of velvet. The favorite hat for the promenade is, however, of rose-colored satin, trimmed with blond.

White satin dresses, embroidered with flowers, are much worn in full dress, as are also those of colored satin trimmed

with white beads. Dresses of cherrycolored satin are always ornamented above the broad hem with a deep fringe, and have in full dress, wide sleeves of tulle, embroidered with gold. Dresses of Ispa han velvet, painted in stripes of various colors, are as remarkable for their high price as their beauty. A lady appeared at a ball given by one of the ministers in a dress of rose-colored crape, decorated with a wreath of ivy, embroidered in black silk, which had every appearance of velvet. Rose was the predominant hue, and there were many more crape dresses than silk ones. A lady of very high rank wore a dress entirely ornamented with serpents. These horrible reptiles were formed of a beautiful gauze, tiger-spotted, and were placed in rouleaux round the skirt. The tail, terminated by three puffs of riband, fell toward the hem, while the head ascended toward the

belt, and the ruby eye was seen there to sparkle. Two serpents of the same composition, were attached to the corners of the bust, and supplied the place of drapery on the corsage, turning round the arms over the wide sleeves. A serpent surrounding the small of the waist placed its head amidst the drapery of the corsage, à la Sevigné, while the tail fell down at the base of the waist, like a bouquet bending downwards.

Gold aigrettes, with ears of corn in rubies, are often worn in the hair in full dress; another favorite coiffure is composed of marabouts, and six or eight butterflies of variegated gems. Feathers and esprits are more in vogue than ever. Berets of silver gauze, thus adorned, are much in request at evening-parties. Blond caps have open cauls, discovering the ornaments of hair at the back of the head.

BIRTHS.

SONS to the lady Louisa Lascelles and the lady of the bishop of London, and to the wives of Dr. Taylor of Tewkesbury, Mr. G. Pocock of Lincoln's-Inn-Fields, Mr. J. H. Ansley, captain W. J. Williams, Mr. Joseph Pitt of Greenwich, the chevalier de Kantzow, the rev. G. Preston, and Dr. Chambers.

Daughters to the ladies Sutton and Wigram, and to the wives of the hon. J. L. Melville, W. P. Honywood, M. P., T. P. Mac-Queen, M. P., S. Whitbread, M. P., the rev. E. Woodhouse, captain Evan Nepean, of the navy, Mr. C. H. Elsley, Mr. Edward Le-Mesurier, Mr. Charles Bowyer, and Mr. W. H. Porter of Clapham.

MARRIAGES.

The eldest son of Sir John Byng, to Agnes, fifth daughter of the marquis of Anglesey.

Mr. T. H. Graham, of the county of Cumberland, to Mary, daughter of the late Sir D. Carnegie.

Mr. J. F. W. Herschel, to the second daughter of the late rev. Dr. A. Stewart, of Edinburgh.

Mr. R. Ŏ. Hughes, of Caernarvon, to Miss Lamb of Bromley.

Mr. J. G. Pratt of Lifford, to Miss Susanna Haslope of Highbury.

Mr. Joseph Chitty, junior, of the Middle Temple, to Miss Sarah Hardwick.

The rev. G. Dewdney, to Miss Penelope Tabor, of Finsbury-square.

The rev. W. Tait, to Miss Catharine Adam, of Homerton.

Mr. James Edisbury, to Miss Radcliffe of Wrexham.

Mr. T. Herbert of Liverpool, to Miss Mary Anne Clow.

Don Manuel de La Torre, to Miss A. J. Harrison, of Richmond.

Captain Bentick, to Reciera Antoinette, daughter of Sir I. H. Whitshed, K. C. B.

Rev. W. T. C. Staunton, of Staunton Hall, to Isabella, only daughter of the Dean of Lincoln.

Mr. P. Parsons, to Mary, second daughter of Mr. Slater.

Mr. T. Weston to Miss E. Jackson. Mr.T. Woodhams, of the United States, to Ann, daughter of the late Rev. W. Maurice.

Mr. T. M. Lawrence, to Louisa, daughter of the late John Compton, Esq.

I. F. T. Wilde, Esq. to Miss I. M. Mackneau, of St. Albans.

A. Taylor, Esq., to Lydia, widow of Colonel W. Cowper.

AN ESSAY ON CRITICISM.

EVERY one who has common sense has the capability of judging, in some degree, of whatever he sees and observes; and this faculty, when it is systematically exercised, leads to what we call criticism. The term is of universal application; but it is usually confined to the subjects of literature and the fine arts, and is, indeed, the application of good sense and taste to the discovery of beauties or the detection of faults and incongruities. Those who deliberately judge in this way ascend from particular instances to general principles, and form such rules and conclusions as promote correctness of judgement in others who are less gifted or favored by

nature.

Criticism is not a mere induction à priori, or in the first instance; it is not that process of abstract reasoning, which disdains the aid of facts or observations; but it is founded on experience, and on the actual impression of such beauties or faults as have excited particular notice. It is exercised in its most simple form when, after we have perused a literary production,or witnessed the representation of a dramatic piece, or surveyed a work of art, we call to mind what has pleased and what has displeased us in those performances; but when, from a laudable curiosity, or a desire of being enabled to

VOL. X.

explain the reasons of our admiration or our disappointment, we attentively examine those reasons, we rise into the regions of philosophy, and are induced to conclude, that only those principles which are founded on this solid basis can form the standard of true taste.

There is reason to believe (indeed there is no doubt) that the earliest productions of human genius in poetry or in the arts preceded the promulgation of rules of criticism. Homer finely wrote, Apelles beautifully painted, and Phidias used the chisel with a masterly hand, before the laws of their respective arts were organised or embodied. The contemplation of their noble works afforded the models from which critical rules emanated. In the case of poetry, for instance, Aristotle deduced, from the study of the Iliad and Odyssey and the Greek tragedies, those laws of composition which were received, for a long course of ages, as the dictates of sound judgement and tasteful discrimination. Yet it would be absurd to suppose, that the authors of those fine models did not form and shape them by rule. They were not guided by a written law, but "they were a law to themselves;"-they had an intuitive sense of what was decorous, graceful, and sublime, and, on the other hand, of what was tasteless and inelegant. As this immediate perception, however, of what is com

mendable or reprehensible in works of art, seems to be communicated only to persons of superlative talent, the generality of people must be content to learn by study what they do not derive from intuition, and on this consideration are founded the utility and the dignity of the elements of criticism.

Even after the dissemination of those critical rules, which were acknowleged to be rational and judicious, poets and artists, being fond and proud of liberty, did not always attend to them. Some men of genius, knowing that there are "beauties which no precepts can declare, and nameless graces which no methods teach," have spurned at those rules which seemed to restrict their talents and limit their energies, and have pleased more, perhaps, by their occasional deviations from the prescribed course, than they would have done by the most legitimate formality and the most regular discipline. But this licentiousness would not suit persons of inferior abilities, who would incur the risque of exposing themselves to ridicule by such eccentricity.

Here we may observe, that no rules of criticism can supply the place of genius, or create it where it has not been implant ed by nature; but they may direct it into a proper channel, correct its extravagances, and chasten its luxuriance. Genius, therefore, is rash and presumptuous when it despises such aid; for common sense and judgement cannot be supposed to be really injurious to any composition or performance, or destructive of its due effect and impression.

The father of the art of literary criticism, as we before hinted, was Aristotle; for Plato, although he had previously suggested some general principles, did not fully or regularly enter into the subject.

"The mighty Stagirite first left the shore,

Spread all his sails, and durst the deep explore;" that is, he did not content himself with surveying the surface or the exterior of any thing, but penetrated into its depth, and examined it with a philosophic eye. His treatises on poetry and rhetoric exhibit the fundamental principles on which the critical art may safely rest. Theophrastus followed him with zeal and ability; and Dionysius of Halicarnassus pursued the same course with accuracy and spirit. Longinus seems principally to have had in view the passions and the imagination; and, in allusion to the ar

dent feelings of that critic, Pope says, that all the Muses inspired him, and blessed him with a poet's fire. Among the Romans, the first critic who obtained high reputation was Cicero; but he was inferior to the Greeks in philosophical acumen, and to his countryman Quintilian in comprehensive detail and lucid arrangement. Horace's Art of Poetry is a standard of its kind, and good critical hints also occur in his satires and epistles. Those whom we have mentioned were philosophical critics; but, on the revival of learning after the dark ages, a new set of scholars sprang up, who may be styled corrective critics. These made it their study to purify the works of the classic authors (then rescued from oblivion or neglect), and to discover the true reading amidst a mass of error, arising from the ignorance or carelessness of transcribers. Some of these critics were dull men, while others were acute and ingenious. Considering these scholars (says Mr. Harris) "as a sort of masters of the ceremonies in the court of letters, through whose assistance we have been introduced into some of the first and best company, let us not, by idle prejudices against pedantry and verbal accuracy, be induced to slight their art. It is well that we do not slight also those classics with whom criticism converses, becoming content to read them in translations, or (what is still worse) in translations of translations, or (what is worse even than that) not to read them at all! And I will be bold to assert, if that should ever happen, we shall return to those days of darkness, out of which we happily emerged on the revival of ancient literature."

While we agree with the philologist in the vindication of these critics, we do not coincide with him in his contempt of translations. Dryden indeed says, "Every thing suffers by a translation, except a bishop;" yet versions of the classics are useful and agreeable to a multitude of readers, who, without enjoying the honor of what is usually styled learning, may be sensible and intelligent; and an eminent critic maintains, that some translations, particularly Rowe's Lucan and Hampton's Polybius, are superior to the originals.

After the restoration of philosophical criticism, many French writers excelled in that department, more particularly Rapin, Bouhours, and Bossu, of whom the last was the most methodical and accurate. The spirit of Horace was trans