Kitabı oku: «Harper's New Monthly Magazine, Vol. III, No. XVII, October 1851», sayfa 30

From Halle, we hear of the death, a short time since, of a voluminous German writer, John Godfrey Gruber, founder and principal editor of the "Universal Encyclopædia of Sciences and Arts" – a work which was at first carried on by him conjointly with Herr Ersch. Herr Gruber was also a large contributor to the Litteratur Zeitung and the Conversations-Lexicon. His separate works include: "The Destiny of Man," "The Dictionary of Esthetics and Archæology," "Researches into the Greek and Roman Mythology," "The Life of Wieland," and "The Dictionary of German Synonymes." These are but a few of his many writings.

M. Dupaty, one of the forty French academicians, died a few days ago. He was one of the most obscure of that learned corps. His literary reputation, such as it was, was based almost exclusively on vaudevilles and on the libretti of comic operas. He was held in esteem in the days of Napoleon; but then literary distinction was very easily earned. The most notable event in the last twenty years of his life was being chosen (to his own great astonishment) an academician in preference to Victor Hugo, then at the height of his fame.

The 16th, 17th, and 18th volumes of the complete works of Frederick the Great have just been published at Berlin. They are entirely occupied with his correspondence. There are 4000 letters written by him – two-thirds are in French, the other third, chiefly on military operations, are in German, and were addressed to his generals. The whole letters belong to the state archives. The edition of the great Frederick's works, now in course of publication, was undertaken by order of the present King of Prussia, and at his expense.

The indefatigable Eugene Sue, notwithstanding his daily labors as one of the 750 law-givers of the Republic are, or ought to be, rather heavy, has found time to write another romance, of which the publication has been recently commenced in one of the daily Paris journals. It is called "Fernand Duplesis; or, the Memoirs of a Husband;" and is, it appears, to be an exposure of what in France it is the fashion to call the miseries and iniquities of married life. Written in great haste, it will (judging from the opening chapters) be slovenly in style and negligent in language; but, en revanche, it will (as it seems) be of great dramatic interest, and will throw new light on Parisian society – that strange and striking assemblage of intrigue and passion, of vanity and folly, of elegance and refinement, of chivalry and corruption, of much that is good, and of more that is bad.

Don Hannibal de Gasparis, the Neapolitan astronomer, who has, in the course of the last few years, discovered no less than five new planets, has, by a royal decree of the 4th, been named Professor of Astronomy at the University of Naples.

In Hans Andersen's charming Memoirs we find a graphic sketch of an interview with Reboul, the baker poet of Nismes, celebrated in "Lamartine's Journey to the East." – I found him at the house, stepped into the bakehouse, and addressed myself to a man in shirt sleeves who was putting bread into the oven; it was Reboul himself! A noble countenance which expressed a manly character greeted me. When I mentioned my name, he was courteous enough to say he was acquainted with it through the 'Revue de Paris,' and begged me to visit him in the afternoon, when he should be able to entertain me better. When I came again I found him in a little room which might be called almost elegant, adorned with pictures, casts, and books, not alone French literature, but translations of the Greek classics. A picture on the wall represented his most celebrated poem, 'The Dying Child,' from Marmier's Chansons du Nord. He knew I had treated the same subject, and I told him this was written in my school days. If in the morning I had found him the industrious baker, he was now the poet completely; he spoke with animation of the literature of his country, and expressed a wish to see the North, the scenery and intellectual life of which seemed to interest him. With great respect I took leave of a man whom the muses have not meanly endowed, and who yet has good sense enough, spite of all the homage paid him, to remain steadfast to his honest business, and prefer being the most remarkable baker in Nismes to losing himself in Paris, after a short triumph, among hundreds of other poets.

The Writings of Shakspeare would appear, from the following fact, to be read with as much avidity and delight in Sweden as in England and this country. A translation of his plays by Hagberg, Professor of Greek in the University of Lund, is now in course of publication. Of this, 12 volumes have appeared; and although the first edition consisted of no less than 2000 copies, the whole have been sold off, and a second edition is in preparation. Professor Hagberg's translation is most favorably spoken of by those who are qualified to judge of its merits.

A new theological work by Jonathan Edwards, printed from his own manuscript, is announced as soon to be issued. The fame of our illustrious American theologian attaches great interest, in the religious world, to this new production from his pen.

The Poem entitled "The Ship of Death," which floated into our Editor's Drawer from an unknown source, was written by Thomas H. Chivers, M.D., author of a volume entitled "Eonchs of Rubies," and other poetical works.

Miss Catherine Hayes the celebrated Irish vocalist arrived in this country a few days since. Her first concert will be given while the sheets of our present Number are passing through the press. She is pronounced in her own sphere to be as unequaled as Jenny Lind in hers; brilliancy is the peculiar characteristic of the latter, pathos of the former. Those who have heard her abroad, predict for her a success not inferior to that achieved by her Swedish compeer. The fact of Ireland being her native land will of itself insure her a favorable hearing in America.

We are reminded that the English work entitled "How to make Home Unhealthy," which was ascribed to Harriet Martineau, in a former Number of this Magazine, was written by Henry Morley, Esq.

Fashions for October

October, the beautiful month, standing like a mediator between summer and winter, is the season for exercise in the open air; especially for that healthful recreation, riding on horseback. It is the season, too, of the Indian Summer, when the pleasures of carriage riding and promenading are greater than at any other time of the year. For the ladies it should be an out-of-door month; and for them we herald the decrees of fashion, touching their appearance in the open air.

Walking Dress. – The figure on the left represents a very pretty costume for promenade. Bonnet, drawn tulle with low crown. The poke is made on a skeleton of wire covered with yellow silk, and having four pieces across. Under the wires are fastened small bows of gauze ribbon so as to form three well-rounded rows. A similar row of bows trims the edge of the poke inside, and the ribbons composing it are continued along flat. A gathered ribbon is laid all round and fastens with bows. The crown is of tulle, slightly puffed, and ornamented with five ribbon ruches, supported by five wires covered with silk, which slope toward each other, and meet near the curtain. The curtain is tulle, trimmed with a plaited ribbon, from which proceed bows astride on the edge. The shawl is of silk or other light fabric. On the body there are five cross-bands of silk, goffered and cut at the edges. The top one reaches from one shoulder-seam to the other and is 2½ inches wide, the other four gradually diminish down to the waist, where the last one is but little more than an inch. The trimmings goffered in small flutes are fixed under a narrow galloon; another galloon is placed a little higher, leaving an interval of about half an inch between them. A similar trimming runs round the waist and forms the lappets. The skirt has seven rows of goffered trimmings gathered like those on the body. The top one is an inch and a quarter deep, and all increase gradually down to the lowest, which is 3¼ inches. The sleeves are open under the arm from the elbow downward, and are held together by two goffered cross bands. The under-sleeves are lace, and form a large puff, which is fastened in a worked wristband.

Riding Dress. – The figure on the right represents a riding dress. Felt hat with a terry velvet ribbon as binding for the edges, bows of the same, and a frosted feather. Body of white quilting, high and tight. The skirts hold to the body without seam at the waist. They are very round and full, owing to the cut of the side and the gores. They should come well over the hips, but not sit too tight. The middle of the body is open and leaves visible a rich lace shirt-frill very deep and full, and falling back on itself, owing to its fullness. The lace collar forms a ruff with two rows. The top and bottom of the body are hooked inside, but seem to be held by three gold double buttons; these twin buttons are attached together by a small gold chain. Those at bottom have a longer chain than the others. The sleeves are straight with a cuff turned up and standing out from the sleeve. Shirt of plain poplin, trimmed in front with velvet ribbons nearly half an inch wide, and continued all round the bottom.

Carriage Costume. – Dress of glacé silk; body half high, and open in front; waist long and slightly pointed; the body a tight fit and trimmed with a rich fancy trimming. The short skirt is very full, rounded at the corners a la robes, and trimmed to correspond with the corsage. The gathers at the waist are confined by narrow rows of guimpe. The skirt is long and very full, with a row of silk trimming laid on the hem at the bottom. Bonnet of paille de riz; brim very open. Feathers are placed low at the right side. Lined with fulled tulle, ornamented with pink satin A shawl of white cachmere, with very deep fringe.

Caps. – The cap is almost universally worn as a part of morning costume. Represent two of the latest styles, adapted for the cool mornings of autumn. Those of a negligé form are generally composed of muslin, embroidered au plumetis, or cambric, entirely covered with the richest kind of English embroidery, which sometimes resembles a splendid guipure. When the lappets are not formed of the same material, we see them of pink taffetas, attached to the cap, with a bunch of coques, composed of the same colored ribbon very full, and put on so as to replace the full bands of hair.

Undersleeves, so elegant with open dress sleeves, are worn by all. The style as well as material has many varieties. Is a very neat style, made either of embroidered muslin, or lace.

Pelisses are becoming very fashionable, made of plain Italian silk, and trimmed with a fancy ribbon three fingers in width, and bordered on either side with two narrow ones, appearing as if woven in the dress. We may cite, as a most elegant costume in this style, a redingote of pearl-gray, encircled with a ribbon of a pearl-gray ground, over which is quadrillé dark-blue velvet, having the narrow rows on either side. The front of the pelisse is closed with eight or ten rows of the same kind of ribbon, each end being turned back so as to form a point, from which depends a small blue and gray mixed tassel. The corsage is formed with broad facings, encircled to match the lower part of the sleeves.

Jewelry. – The châtelaine is now replaced, in a measure, by waistcoat chains, attached at both ends, the middle forming a festoon. Brooches are very rich; the finest are cameos set round with brilliants. Ear-rings are composed of large stones mounted in plain rings, without pendants. Bracelets are of enamel, sparkling stones, and gold. The waistcoat button is now a very elegant piece of jewelry.