way to set about Art-criticism is to talk about history, and geography, and climate, and manners, but especially climate and manners."

I certainly think this is overstating what Monsieur TAINE says, and which appears to be nearly a truism; namely, that no man, be he a literary genius, philosopher, or artist, escapes the influences of the land of his birth, climate, age, or generation. The effect which these influences exercise on the human frame or mind, are, in my opinion, justly and skilfully descanted on by our Author, when he criticizes Philosophy, Literature, or Art. The proof that he speaks truly is to be found in the article of the Saturday Review itself, which takes our Author rightly to task for his remarks "on the climate of Dover," "on the excess in eating and drinking of Englishmen," and on "the modern English school of painting," and justly finishes the article, in the same way as Monsieur TAINE would most probably have done if he were criticizing somebody else: "Indeed, Monsieur TAINE does no more than repeat the general notions which are current in his own country." Another proof that no one escapes the influences mentioned above is again to be found in the article of the Saturday Review, where Monsieur TAINE is at one place called, "essentially a vulgar Frenchman," and at different other places complimented as "a man whose culture is considerable,” an "intelligent man," "a man who in these few pages writes like a man of culture, above the minor prejudices of his nation."

In the Journal des Débats, Monsieur TAINE has lately

a

published several articles on Civilization and Art in Greece, which, I trust, will be collected in one volume. This gentleman is also engaged on a new philosophical work, l'Intelligence, which, we hope, will cause many readers to do, what books now-a-days rarely do, namely, make them think for themselves.

I have purposely abstained from dilating about Monsieur TAINE'S style. The youthful readers of this Selection will soon find out how admirably clear it is, how every word stands in the right place, when no other word will do. If perchance any older reader stumbles upon this Selection, I would strongly recommend him not to be content with judging of our author by the few specimens gathered here, but to read and study him in extenso.

In justice to the Author, I must say a few words about the criticisms passed on Monsieur TAINE'S works, and on his method of dealing with facts. Monsieur Gustave Planche, in a very bitter but well-written article in the Revue des Deux Mondes, April 1, 1857, when only the Essais about La Fontaine, Livy, and the Philosophes français du XIXe Siècle had appeared, accuses him of introducing pantheism into history and literary criticism, says that he knows how to engage the attention and sympathy of his readers without acquiring any authority over them, and that he judges his old teachers with great harshness. The critic then attacks Spinoza's doctrines in several pages, avers that Monsieur TAINE has not completely understood La Fontaine and Livy, but is obliged to admit that “Monsieur Taine est pour la critique militante une précieuse recrue. . . . . Il possède dès à présent

(1857) un fonds opulent, auquel viennent s'ajouter ses acquisitions de chaque jour. . Il comprend l'objet de la disOn peut dès à pré

cussion, et n'essaie pas de l'éluder. .

sent pressentir ce qu'il vaut."

In the Revue des Deux Mondes of August 1, 1869, Monsieur E. Vachérat, in an article on "le Fatalisme métaphysique," says: "L'unité absolue de l'être dans le mouvement mécanique, ne serait-ce point là, par parenthèse, cette maitresse formule invoquée par Monsieur TAINE, mère féconde de toutes les autres, dont l'enchaînement constituerait le système entier de l'univers?"

Many other critics have attacked Monsieur TAINE and his works; I trust with great literary and pecuniary advantages to themselves, but with small harm to the reputation of one of the greatest master-minds of France.

THE ACADEMY, EDINBURGH,
October 1, 1869.

HENRI VAN LAUN.

LES NORMANDS

(HISTOIRE DE LA LITTÉRATURE ANGLAISE)

L y avait déjà un siècle et demi que sur le continent, dans

l'affaissement et la dissolution universelle, une nouvelle société s'était faite et de nouveaux hommes avaient surgi. Contre les Normands et les brigands, les braves à la fin avaient fait ferme. Ils avaient planté leurs pieds dans le sol, et le chaos mouvant des choses croulantes s'était fixé par l'effort de leurs grands cœurs et de leurs bras. À l'embouchure des fleuves, aux défilés des montagnes, sur la lisière des marches2 dévastées, à tous les passages périlleux, ils avaient bâti leurs forts, chacun le sien, chacun sur sa terre, chacun avec sa bande de fidèles, et ils avaient vécu à la façon d'une armée disséminée mais en éveil, campés et ligués dans leurs châteaux, les armes en main, et en face de l'ennemi. Sous cette discipline un peuple redoutable s'était formé, cœurs farouches dans des corps athlétiques3, incapables de contrainte, affamés d'actions violentes,

I s'était fixé-grands cœurs] Had been arrested by the utmost endeavours of their lofty hearts.

2 marche] A border, a frontier, connected with the English 'march.' A marquess was only a protector of the Marches, a Lord Warden: hence also the French marquis.

3 cœurs farouches-athlétiques] Read, among other things, the first

"

stories of the first crusade. Godfrey of Bouillon cleaves a Saracen to the middle. In Palestine, a widow who was not sixty years old, was obliged to marry, because no fief could remain without a defender. A Spanish chief said to his followers, who were very tired after a battle, "You are too tired and too much covered with wounds; but come and fight with

B