Kitabı oku: «Blackwood's Edinburgh Magazine, Volume 59, No. 364, February 1846», sayfa 17
"But how, my dear fellow, can we accept an invitation of this kind from an utter stranger, whom" —
"No stranger at all," interrupted Frank. "He tells me your governor is one of his oldest and most esteemed friends; and as for myself – but stay – hush! – hark! I hear the old gentleman's voice, and he's coming this way too, or I'm very much mistaken."
Chapter V
The squire was one of those persons who generally give audible notice of their approach as soon as they enter their house, or pass through from one part of it to another; and our two heroes heard him, whilst in the act of ascending the stairs, bawling out to the ladies above that it was high time for them to be up and moving; and hammering away at the first door he came to, he called out – "Come, come, young ladies, wake up, wake up – chase away your balmy slumbers, and kick Morpheus out of bed without further ceremony.
'Come Miss Mary,
["Her loved name!" exclaimedVernon within.
All contrary,
How does your garden grow?
With silver bells,
And cockle shells
And cockles all of a row.'
"Nothing like early rising for planting the roses in your cheeks – and if that argument," said he to himself, "won't make a young woman bundle herself from under the bed-clothes, I don't know what will." And then he walked on to the room in which Frank had slept, and which was the adjoining one to Vernon's, he began to drum away upon the door there; calling out, at the same time – "Come, Frank – Mr Trevelyan – if you intend to have a view of the sea before breakfast, as you proposed last evening, it's high time you should be up and stirring."
"I'm up and stirred already, sir," said Frank, popping his head out of the adjoining room door.
"Yes; you're up to any thing, I see," said the squire, good-humouredly extending his hand to his guest, as he entered the room; "and how's my patient this morning?" he continued, advancing towards the bed. "Ah!" he said, having felt Vernon's pulse, "just as I hoped, and indeed fully expected – you couldn't possibly be doing better; a little – very little care for a day or two, is all you seem to require. I looked in before this morning to see how you were getting on, and found you snoring away so comfortably, that, judging all was as it should be, I wouldn't disturb you with my inquiries."
"Snoring!" repeated Vernon, in alarmed surprise, looking exceedingly disconcerted, and doubting almost whether he had heard aright.
"Ay, snoring," resumed the squire; "but never mind that, my hearty fellow – the best men snore sometimes, take my word for it; and, I dare say, it wasn't loud enough to disturb the young ladies. It was pretty loud, though, I must confess; but still I think it could hardly reach so far, particularly when your door was shut."
"But I found it wide open," observed Frank, by no means ill-amused to see how annoyed his companion was at the conviction of having snored, and the possibility of such sounds having reached the ears of one so lovely. Oh, how Vernon longed to hurl his pillow, or even any harder missile within his reach, at the saucy little fellow's head who was looking so provokingly pleased with his distress, and which the presence of the squire alone restrained him from making a left-handed attempt at, for his right was, as we before mentioned, disabled for the present by his late accident. But Vernon was too good a judge to attempt any thing of the kind, or show any exhibition of displeasure before his kind entertainer who, telling him he must act as his doctor, having, as he said, been bred to, and practised for several years in the medical profession, examined into the state of his sprains and bruises, and told him he would soon be all right again, but that he must be content to spend a few hours longer in bed, where his breakfast of gruel should be sent up to him; and then, accompanied by Frank, he took his departure.
The old gentleman, however, gave the ladies a fresh hail as he passed by their bedroom door, to which two or three voices replied simultaneously, but in tones far less musical than Frank expected; and it seemed to him very different from what he had heard from the fair equestrians of the preceding day, when they kindly expressed their hopes that the sprawling poet had received no injury from his tumble.
"Ah! I see how it is," thought he to himself; "these pretty creatures, like too many of their sex, have a couple of tones to their voices – one for home, and the other for company. There's one-half of my admiration gone already." But wishing, at the same time, to put the best construction he could upon the matter, he tried to persuade himself that they must have taken cold, poor things! in consequence of having been caught in the heavy shower of the preceding day; and this it was which had caused the hoarseness of their voices. "I have known it have that effect before now on other people," he thought, "and why might not the same happen to these fair damsels; who, though lovely as angels, can scarcely escape from 'all the ills that flesh is heir to,' amongst which a cold, attended with hoarseness, can hardly be reckoned the worst?"
A PEEP INTO THE WHIG PENNY POST-BAG
My Dear Member – I send you a powerful petition,
For absolute, instant, entire abolition.
This question our Chamber is taking a lead in
Composed, as you know, of the Flowers of Dunedin,
Intelligent Druggists, rhetorical Quakers,
Broad acres – a few – but no want of wiseacres.
All are perfectly clear that these horrid restrictions
Are the proximate cause of our present afflictions,
Obstructing the bowels, as 'twere, of the nation,
And entirely deranging our whole circulation.
To expel these bad humours, we earnestly urge
A dose, night and morning, of Russell's new Purge;
Not the old wishy-washy affair of the fixture,
But the new out-and-out Morisonian mixture.
In the mean time 'tis well that the Noble concoctor
Has succeeded in ousting the family Doctor.
Peel's a perfect old wife – twaddles on about diet,
About exercise, air, mild aperients, and quiet;
Would leave Nature alone to her vigour elastic,
And never exhibit a drug that is drastic.
Doctor Russell's the man for a good searching pill,
Or a true thorough drench that will cure or will kill.
For bleeding and blistering, and easy bravado,
(Not to speak of hot water,) he passes Sangrado.
He stickles at nothing, from simple phlebotomy,
As our friend Sidney said, to a case of lithotomy:
And I'll venture to say, that this latest specific,
When taken, will prove to be no soporific.
Might I just hint how happy 'twould make me to be
Sole Agent down here for the great Patentee?
Entre nous, what can mean these unpleasant surmises?
I scarce know what prognosis to form of the crisis:
And our friends, quite perplex'd at this puzzling delay,
Can't imagine how scruples should stand in the way.
Must the grand Opus Magnum be brought to a fix,
Because some jarring drugs are unwilling to mix?
His lordship, I'm certain, would cut the thing shorter,
If he'd borrow a touch of my pestle and mortar.
Ere we part, I must give you a hint of the truth:
We Free Churchmen can't stomach your views of Maynooth.
If you value your seat, as a friend I would urge ye,
Steer clear of endowing the Catholic Clergy;
A bolus (or bonus) so very unhallow'd
Would in Scotland, I'm sure, not be easily swallow'd.
By an early reply we should all be elated,
And 'twould tell if from Windsor again it were dated.
Dear Druggist – You've open'd your jocular vein,
And I fain would reply in the same pleasant strain;
But let those laugh who win – I have only to say,
That we are —as we were: and all done by Lord Grey —
The most arrogant, wayward, capricious of men,
(Though this last little sketch must not seem from my pen.)
Only think of objecting that Palmerston's name
In a fortnight would set East and West in a flame:
About mere peace or war a commotion to make,
When the Party's existence was plainly at stake!
When office was offer'd, to cast it behind,
And to talk of such trash as the good of mankind!
It is clear, my good friend, such a crotchety prig
Has but little pretence to the title of Whig.
On the part I have played in this luckless transaction,
I confess I look back with unmix'd satisfaction.
From the first I said this– and 'tis pleasant to feel
Thus at ease with one's self – "I'm for total repeal.
Stick to that, my Lord John, and all scruples I stifle:
Any office, or none, is to me a mere trifle;"
(Though, of course, my dear Mac, for the purest of ends,
I was willing to help both myself and my friends.)
"Any office I'll take, that can give you relief —
From the Whip of the House to Commander-in-chief."
Oh! If all of the party had acted as I did,
In how noble a band would Lord John have presided!
But – "'tis best as it is: " we may grieve, yet we shouldn't:
Peel can carry the measure – 'tis certain we couldn't:
Though we hoped, if our reign was once fairly begun,
It might last till – we did what was not to be done.
I think, (though thus leaving old views in the lurch,)
We should not have establish'd the Catholic Church.
To speak for my colleagues, in me would be vanity:
They might differ; but I should have thought it insanity.
In the hope that our friends in Auld Reeky are "brawly,"
I remain yours, in confidence, T. B. Mac – y.
EAST AND WEST
Sweet is the song, whose radiant tissue glows
With many a colour of the orient sky;
Rich with a theme to gladden ear and eye —
The love-tale of the Nightingale and Rose.
Nor speeds the lay less surely to the mark
That paints in homely hues two neighbours sweet,
Born on our own bleak fields, companions meet,
The modest Mountain-daisy and the Lark.
The fond attachments of a flower and bird!
That things so fair a mutual bond obey,
And gladly bask in love's delightful ray,
Who would deny, and doubt the poet's word?
Or who would limit love's and fancy's reign?
Their hardy growth here springs as fresh and fair,
Far from the sun and summer gale, as there
Where Gul for Bulbul decks her gay domain.
'Tis poesy, whose hands with kindly art,
Of kindred feelings weaves this mystic band,
To knit the Scottish to the Iranian strand,
And reach wherever beats a human heart.
AN APOLOGY FOR A REVIEW
It is not our general practice to review books of travels; nor, in truth, in noticing these little volumes, do we introduce any exception to that general rule. Under what precise category in literature they may fall, would admit, as Sir Thomas Browne observes as to the song sung by the Sirens, of a wide solution. Plainly, however, in the ordinary sense of the term, travels they are not. They will form no substitute for Murray's admirable hand-books; for on the merits or demerits of competing hostelries, which Mr Murray justly regards as a question of vital importance – the very be-all, and often end-all of a tour – these volumes throw no light. In statistics they are barren enough. To the gentlemen of the rule and square, who think that the essential spirit of architecture can be fathomed by measurement, they will be found a blank. And though abounding in allusions, which betray, without obtruding, an intimate acquaintance with ancient literature, and sufficient in congenial minds to awaken a train of memories, classic or romantic, medieval or modern; they contain few dates, no dissertations, no discussion of vexed questions as to the ownership of statues, baths, temples, or circuses; or the other disputed points which have so long been the subject of strife in the antiquarian arena. And, really, when we consider the way in which, in the course of a century, all the old landmarks on the antiquarian map have been broken up, and the monuments of antiquity made to change hands; how Nibbi supersedes Winckelman, only to be superseded in turn; how a temple is converted into a senate-house; one man's villa into another; how Caracalla is driven from his circus to make way for Romulus; how Peace resigns her claim to a Pagan temple to make way for a Christian basilica of Constantine; how statues, arches, gardens, baths, forums, obelisks, or columns, are in a constant state of transition, so far as regards their nomenclature; and, to borrow the conceit of Quevedo, nothing about Rome remains permanent save that which was fugitive – namely, old Tiber himself; we rather feel grateful to the tourist who is content to take up the last theory without further discussion, and to spare us the grounds on which the last change of title has been adopted. What, indeed, matters it, in so far as the imagination is concerned, by what emperor, consul, or dictator, these mighty remains were reared or ruined? Whether these Titanian halls first echoed to the voices of Pagan or the chant of Christian priests? Whether this inexplicable labyrinth of vaults and cells, and buried gardens which overrun the Esquiline, where the work of art and nature is so strangely melted and fused together by "the alchymy of vegetation," really formed part of the golden house of the monstrous Nero; or of the baths of him, the gentlest of the Cæsars, who, when he had gone to rest without doing a good action, regretted that he had lost a day? Equally they remain monuments of the grandeur of the minds which gave them birth; mysterious, suggestive – perhaps the more suggestive, the more awakening curiosity and interest, from the very obscurity in which their origin, purposes, or fortunes are shrouded. And if individual associations become dim or doubtful, they merge in the clear light which these gigantic fragments, betraying, even in ruin, their original beauty of proportion and grandeur of conception, throw upon the lofty and enduring character of the Roman people.
These volumes, then, as we have said, will neither replace Murray, nor form a substitute for Eustace. Neither is their interest mainly owing to mere vivid or literal portraiture; by painting in words, as an artist would do by forms and colours, and enrolling before us a visible panorama, such as might present a clear image of the scenes described here to those who had never witnessed them. Their charm – for a charm, we trust, they will have to a considerable number of readers – arises simply from the truth with which they seize, and the happy expression in which they embody, the spirit of the spot; marking, by a few expressive touches, the moral as well as the physical aspect of the scene, and awakening in the reader a train of associations often novel in conception, as well as felicitous in expression; but which appear in general so congenial and appropriate, that we are willing to persuade ourselves they are a reproduction of thoughts, and dreams, and fancies, which had occurred to ourselves in contemplating the same objects. Hence it is to those, who have already witnessed the scenes described, that these volumes address themselves. They do not paint pictures, but revive impressions; they call up or steady imperfectly defined images; bring forward into light struggling memories; – and, by a union of brief description, classic or historical allusions, picturesque and significant epithets, and reflections hinted at, rather than wrought out, they very successfully accomplish their object – that of realizing to the eye of the mind that distinctive and prevailing expression which each aspect of nature, like each movement of the human face, wears in itself, and is calculated to awaken in others – cheerful, sombre, majestic, or awe-inspiring, according to the nature of the scene, the associations past and present with which it is surrounded, and the conditions, or, as a painter would term it, accidents under which it has been viewed.
While we say that Mr Whyte has generally been very successful in his aim, we must not be understood to express by any means an unqualified probation of the taste in which these volumes are conceived, or the plan on which they are constructed. The train of reflection is sometimes too obviously an afterthought – not spontaneously evoked at the moment by the influences of the scene, but evidently devised and wrought up into point and apparent application by a subsequent process. We have dreams which were never dreamt, and reveries which are any thing but involuntary. There are too many Tristram Shandy transitions, sundry cockneyisms in expression, (we use the word in a wide sense,) and one or two jokes which make the blood run cold. Lastly, we are compelled to say that we repose much more confidence in the writer's taste in architecture than in painting. It is enough to say that he evinces no feeling for the more simple and majestic compositions of Raphael; while the powerful contrasts, and magic of light and shadow displayed by Guercino and Tintoret, seem to exercise an undue fascination on his mind. It is only to the injurious effect produced by these blemishes that we can attribute the slender success with which the volumes have been attended; for at this moment we do not recollect having seen them noticed by any of those who assume to themselves the right of distributing the rewards and punishments of criticism.
Let us now look at one or two of Mr Whyte's sketches of Rome, or rather of the train of thought called up by wanderings among its ruins, tracing the broken sweep of its ancient walls, or wandering among the stately aqueducts and nameless tombs of its dreary Campagna.
Fragments of Italy and the Rhineland. London: 1841.
A Pilgrim's Reliquary. By the Rev. T. H. Whyte, M.A. London: 1845.
The Walls of Rome
"I wonder whether it be the fault of mine own inattention, or the absence of good taste in others, that I have heard and read so little of the Walls of Rome! To me they rank among the few, out of all the Wonders of the Eternal City that have exceeded my expectations. Solitude, their peculiar characteristic, has great charms for a companionless enthusiast like myself: it is, moreover, a description of solitude, the very reverse of melancholy. Mile after mile have I repeatedly roamed along the outer Pomœrium of those solitary rampires, and encountered perhaps a goatherd and his pretty flock, the tinkle of whose bells formed the only accompaniment to the honey notes of the blackbird: – or, perhaps, in sonorous solemnity, some great Bell would suddenly boom upon the silence, and be taken up in various tones from a hundred quarters, no vestige, mean time, of Minster or Monastery being visible; nothing but that enormous Adamantine Circlet rearing itself into the sky on one side, and the gateways and walls of villas and vineyards occupying the other. You might fancy those tolling chimes belonging to some City hidden by Enchantment.
"Still, as I have proceeded in my mood, half enjoying, half moralizing the scene, those hundred towers, like Titan warders placed around the Seven Hills, would each after each look down upon me from their high and silent stations; till, as I came to know them, they seemed to meet my gaze with the sedate and pleasant welcome of a venerable friend. They were the incessant associates of my solitude, and I was never wearied of them. Of a surety their vast Circuit (fifteen miles) gives ample time and space enough for rumination!
"Their colossal cubits are the most perfect exemplar of Architectural sublimity. Their dismantled Battlements have no Watchman but Antiquity, no Herald but Tradition, and hear no clamour louder than the Church or Convent bells, or the dirge which the wind wails over them through the melancholy Cypress and the moaning Pine. The broad old belt of short flowery turf at the base, the Violet, the Gilliflower, and the vermilion spotted Mignonette, on their breast, and the chaplet of wilding shrubs upon their brows, give them a charm in the most common-place observation. With me, truant as I have been to the Classic page, it seemed a natural process of my desultory mind, to revert from a contemplation of such pensive dreamy realities of waking enjoyment as I have described, to visions, startling in their august grandeur, of the everlasting past, – visions of their great Architect, Aurelian; of their greater Restorer, Belisarius!
"These monstrous walls! I cannot divest myself of a certain awe and fascination, as if of a supernatural appearance, which attracts and detains me about them; not even the Colosseum more. There seems something so ghastly, so spectral, in the mockery of their unnecessary circuit, their impregnable strength, their countless towers, arrogating to themselves the circumference of a day's journey – and all for what? To guard a city, which, once dropsied with grandeur, has now shrunk with the disease into comparative atrophy; a city, which, having boastfully demanded their aid, has now abandoned them for miles. It is as though one should wrap a triumphal robe about a corpse, or place a giant's helmet upon a skeleton's skull. It is no poetical figure to look upon them as an eternal satire upon the great littleness of empire. The melancholy pride of their dimensions needs not the hollow wind, which howls around their towers, or the wondering sun, which lingers over their shrubby ramparts, to proclaim in the ears of thrones and senates the warning of Rome's ambition, the moral of Rome's downfall! It is but a poor recompense to their present unhonoured solitude, that their melancholy battlements are emblazed at intervals with the pontifical escutcheons. Those triple tiaras and cross keys, so perpetually recurring, do not half so much consecrate as they are themselves consecrated by the lonely bulwarks of this desolated city of the Cæsars!"
The Villa Borghese
"With the exception of an ostentatious parade of paltry equipages, tarnished liveries, and wretched horses on the Corso, and a frantic attempt at an opera, Rome, in May, is a picturesque receptacle for monks, and goatherds, and nightingales, and bells. Like some haunted place, it appears to be beloved and frequented only by the apparitions of an obsolete race. Yet many minds will find it infinitely more congenial thus, than amidst all the popular splendours of its holy week.
"Her tranquillity, nay, her very desolation, is enchanting. The summer's-day circuit of the Seven Hills seems all your own. You wander whither you will, meeting few, and disturbed by none. In short, the very antiquity of the place is one perpetual novelty, and its grave monotony a serene recreation. I write this in the Villa Borghese, beneath groves of acacias, redolent with odours, and booming with myriads of bees, the yellow hay in aromatic quiles, pitched like pavilions below the old red walls of Rome, and nightingales and blackbirds contending in gushes of ecstatic song!
"Though not new to me, I had little conception of the intrinsic loveliness of the Villa Borghese till to-day. Picture to yourself a large village of the most variegated and romantic character; Church, casino, albergo, and farm, scattered amidst the turfy glades of a forest; and that forest composed of such trees as the beech, the elm, the ilex, and, above all, the sovereign pinaster, whose enormous trunks seem to have condescended to arrange themselves into avenues; the most charmingly artificial glades of the glossiest verdure, and vistas haunted by legions of dim waning statues; hero or demigod, nymph or faun, for ever intermingling but never interfering with each other; their various places of rendezvous emblazed with flowers of a thousand colours, and flashing with fountains of the most graceful fancies possible; while every vista discloses some antique portico, or rotunda, or vestibule of those gems that men call temples! Picture these scenes on some such May-day as this, the dark evergreens rejoicing in the rain-drops, and the new-born leaves of silky green, transparent with the moisture, which had reluctantly ceased to shine on their delicate tapestries. Crown all this with a country palace, of lofty Italian magnificence, a treasure-house of antiquity, painting, and sculpture, disclosing the statues, frescoes, and gilding, of its noble façade and massive campaniles, at the extremity of its darkest grove of evergreens, glittering in this rainbow sunlight, and you may have some impression of the Villa Borghese.
'When God hath shower'd the earth;'
"Such silence and solemnity, that you would never dream you were near the busy haunt of men, were it not, that a long linked diapason of bells, modulated by every possible inflection of their lofty language, convinced you that you were basking amidst all this voluptuous quiet, beneath the walls of a concealed city, and that city – Rome!"
The Ruins. – The Campagna
"This afternoon we drove along the Via Appia Nova. The sun, rolling his chariot amidst a cavalcade of wild clouds, along the ruddy array of shattered arches, variegating the grassy plain with its uncouth palatial and sepulchral ruins, in ebony and gold, illuminated the purple and green recesses of the Sabine hills, and caressing with capricious fleetness their woody towers and towns, bequeathed to the north a calm blue vault, wherein, as in some regal hall of state, the dome of St Peter's, the rotunda of the Colosseum, the vast basilicas of Santa Maria Maggiore, and San Giovanni Laterana, that embattled sepulchre of Cecilia, and those lofty masses of the Pamfilipine, which hovered in the horizon like a feathery vapour, proclaim the illustrious domicile of Rome.
"The Temple of the Divus Rediculus (or whatever other title it may rejoice in) is one of those lovely little phantasies of architecture that one might imagine a London citizen would have coveted for a summer-house. The brilliant contrast between its vermilion pilasters and its pale yellow wall, the delicate moulding of its slender bricks and the elaborate elegance of its decoration, not to omit its pleasing, though diminutive proportions, arising from the wild green turf of this melancholy region, can scarcely fail of affecting with at least a spark of fancy, the flattest spirit of this work-day world. For my own part, I should be much less disposed to pronounce it a temple than a tomb; and, in fact, the whole appearance of this wide dull tract seems eminently adapted to sepulchral piles. It is most melancholy, most funereal; and even that glorious sun, and those majestic aqueducts, soaring, as they do, to salute his lustre, and to emulate his glory, cannot efface the feeling, that such a scene, and such memorials, should be visited only in the gloom of a sad and stormy sky; either amidst the sympathetic moans of an autumnal tempest, or the waning and mournful glimpses of an autumnal twilight."
The Colosseum
"It was the twilight, that brief, that exquisite interval, which flings its purporoseate veil between the palace gates of day and night. You might have fancied it the car of Diana rolling on to some Olympian festival, and preceded by Venus, the only other planet visible in the sky. What a canopy! – Not the gaudiest velabrum that the ostentatious munificence of her Cæsars extended above its gilded cordage, ever equalled the empyrean pomp of this soft sky. Never could the artificial rains of perfumed water surpass the dewy fragrance that steals around from evening's thousand urns.
"I say it was the twilight when we entered these gloomy corridors, whose solemn circuit uncoils its colonnades around the lordly pile; but before we had traversed half their extent night began her reign, and when we entered the arena it was difficult to say whether those faintly flushed skies, that single sparkling star, or the pallid hectic of the youthful moon produced the pathetic light that illuminated this enormous architecture.
"As it now stands, the Colosseum is indeed a wreck, rendered absolutely frightful by repair; and whether by sunlight or moonlight, compels you to lament the 'melancholy activity' which, utterly inadequate to the restoration of its pristine glory, has deprived it of all those adventitious ornaments, trees, and herbage, and a thousand beautiful flowers, which, if they could not conceal, at least served to soften its injuries, and which mitigated the desolation they were unable to repair.
"Of course a thousand imaginations and memories hunt each other through one's head and heart in such a place and at such an hour as this, but to-night there were realities, which, where they do not dispel, must always reinforce such phantasies.
"Before the steps of the great cross in the centre, garnished with all the emblems of the passion, knelt a respectably dressed group, apparently father, mother, and daughter, absorbed in a rapture of devotion. The lamps were lighted before the fourteen shrines, which Benedict the Fourteenth erected around the arena, and flung a dusky light upon the successive stagioni of our Saviour's sufferings, by which each is distinguished; and we saw a solitary peasant, in the dark costume of his country, evidently faint and toil-worn, rise from his oraisons at one shrine, only to sink upon his knees before another.
"Ah! it was at once a simple and sagacious stroke of that priestly sovereign, who, in these prophaned ruins, planted the Cross, and, by a mightier spell than the magician's wand, arrested the rapacity of its patrician plunderers!"
Do not sketches such as these revive for us all those feelings which Rome awakened in ourselves, bringing back the clime, the sky, the loneliness, the mingled feeling of grandeur and situation – the gentle melancholy with which the eternal city impresses even the least imaginative mind? To us they appear to embody more of the poetry of travel than many a work which figures under the mask of poesy.
How much has been written on Venice, from Schiller and Radcliffe to Madame de Staël and Madame Dudevant! and yet we hardly know if any one, with the exception of the last, has more completely imbued his mind with the peculiar spirit of Venice, or reflected its impressions with more truth than Mr Whyte. Schiller, indeed, and Mrs Radcliffe, had never witnessed the scenes they described; their portraiture is the result merely of reading and description, warmed and vivified by the glow of their own imagination. Hence the glimpses of Venice conveyed in Schiller's beautiful fragment of the Armenian, are mere general outlines – true enough so far as they go, but faintly drawn, and destitute, as we might say, of local colour. Mrs Radcliffe's moonlight landscapes – masques and music – exhibit with great beauty one aspect of the city, but only one.
