LE LAC DE WINDEEMEEE

Over Windermere's waters coquettishly bending,

Her loveliness Nature reflects and admires ; And ail her most exquisite tints and hues blending — From Morning's first dawn till Night, softly descending,

Eclipses ail glow save the star 's distant fires, — Depicts them and views them, throughout the whole year, In the fairy-like mirror of sweet Windermere.

We very heartily wish that we may have still further " flickerings " from a torch which, even when near " extinction," gives out such a brilliant light as thèse pages reflect. — The Daily Télégraphe 21 Mai, 1874, Melbourne.

The literary life of which thèse poems are the latest fruits has been both long and busy. Their vétéran author, who lets us know that he is nearing the close of his seventy-fourth year, and that in 1833 he was already an influential writer in his native country, has only to point to his title-page in proof of his activity in the past. The présent volume is of a very miscellaneous character, ineluding a great variety of original minor poems as well as spécimens of translation from a great many languages. Some of the pièces belong to the author's earlier days ; and many of them seem far too slight to hâve merited préservation ; but, viewed as a whole, they are well fitted to give pleasure to the large circle of personal friends for whom they seem to hâve been chiefly intended. They are not wanting in neatness or élégance ; and there is a lambent play of humour and fancy about them which is not Nunaptly described as resembling the dernières lueurs d'un flambeau. We feel bound to add that this title (which is well chosen to enlist sympathy and secure indulgence) is hardly sufficient to prépare the reader for the extraordinary number and warmth of the allusions made to French politics (chiefly, however, in prose interpolations). The Chevalier de Châtelain would hâve showed better taste, and at the same time would hâve commanded more complète sympathy with his feelings of public and private wrongs as a Frenchman, had he been more judicious in selecting the adjectives and nouns he hurls at Louis Philippe, Napoléon III., Marshal Mac« Mahon, and other objects of his contempt. — The Daily Review, Edinburgh, December 5, 1874.

An auto-biographical résumé, in verse, forms part of the introduction to the second work of the " Châtelain de Castelnau " that we hâve the pleasure of noticing. This novel style of préface bears the trite, half-humorous caption, Départ 19 Janvier 1801, Arrivée 19 Janvier 1874, the Alpha and Oméga of period, between the birth of the author and the date of the publication of the book under review. The index of âge, thus stated, proves how large

and extended must hâve been the expériences of the writer, who in the opening sketch détails the vicissitudes and changes of his early years, concluding with the lines :

Moulant de temps en temps quelques vers tapageurs D'un flambeau qui s'éteint, les dernières lueurs.

But, in proclaiming the nature of the contents of the volume, in the singularly applicable form that will first strike the reader, the dedication itself must not be overlooked. In the few sentences addressed to Mme. de Châtelain, breathing ail the délicate tenderness and rehned susceptibility of a true poetic feeling, in accord with the more elevated impulses of our common humanity, we note the pointed satire and scorn of the man, as an acute observer of the world "as it jogs;" and as a fearless commentator on passing political events. With the flickers of the emblematical torch (still brilliant in its implied exhaustion), are the évidences of a pure love of his kind, of nature, and of his own conjugal happiness, that beam brightly forth amid the flash of adverse ideas. Not as an empty expression is the latter form of felicity presented in the verbal homage, for we gather, by a footnote, that in July, 1855, both the Chevalier and his wife, also an accomplished writer, became the honoured récipients of the ancient gift of " Dunmow Flitch."

Will or inclination is neither at fault to render due justice to the talent and patience of the author, but to give anything approaching a deserved or satisfactory notice, at ail commensurate with the number, variety and merits of the Dernières Lueurs, would exact more space than we, unfortunately, are able to command, and we must, perforée, rest content with a cursory description of the substance of the fugitive pièces that hâve been compiled together. To lovers of belles lettres, to the philologist of sangre azul, to the cultured intellect, we confidently appeal, to fulfil their adopted mission; viz. the acquisition and perusal of this work, confidently promîsing them a " recurring feast " throughout its pages.

European poets, past and présent, together with their

American confrères, are found included in tins labour of love, and reproduction in another language. Bohemian and Serb, with Pôle and Russ, are ranged in amicable alliance, Italy, France, and Germany, oblivious of feud or variance meet on common ground with Great Britain, and help to contribute to the genius of the Chevalier. To speeify the separate names of the phalanx of authors subjected to the task of translation would be a recapitulation of the best-known masters of cosmopolite song; whilst the classic poets of antiquity, aud renderings, even from the Védas, and from the more modem Provençal, the langue d'oc or d'oï, complète the recueil of Lueurs, till we are really at fault to know which composition to sélect the first or admire the most for the purposes of criticism. With this incomplète review we hâve but to add that the arrangement and set-up of the Dernières Lueurs leave nothing to be desired; and, printed by the Dryden Press, further comment would be super fluous on this point, but the book and its contents will equally grâce the library or drawing-room table, and enrich the mind, and information of the fortunate possessor. Long may thèse lights shine to illumine European literature. — Le Cosmopolite, Genève, 20 Octobre, 1874.

Timon D'Athènes. Drame en cinq actes de W. Shakespeare, traduit en vers Français par le Chevalier de Châtelain, traducteur des " Contes de Canterbury " de Chaucer. Londres: Kolandi.

Timon of Athens. A Drama in ûye acts. Translated by the Chevalier de Châtelain, author of a translation of Chaucer' s Canterbury Taies, &c. London: Kolandi.

The late Earl Derby, in reply to a well-turned compliment on his translation of Homer's lliad, observed that everything suffered by translation except a bishop. En many instances, this is no doubt true; but we are far from being assured that it would be either wise or just to apply Rupert's reply indiscriminately to translations. The work before us, at ail events, we consider a happy

exécution, as Timon of Athens does not seem to hâve suffered at the hauds of the Chevalier de Châtelain.

Of ail Shakespeare's dramas Timon of Athens is perhaps least known to gênerai readers. Tt contains few striking passages, such as we find in Othello, Macbeth and Hamlet. As a stage -play, it can hardiy be said to hâve been so successful as nearly ail Shakespeare's plays hâve been, neither is it to be found in what is known as the Cumberland Acting Edition. Since the time when the late Charles Kean, at the cost of a magnificent fortune, attempted the revival of the Shakespearian drama, in the Eoyal Princess Théâtre, we are not aware that Timon of Athens has been put upon the stage with anything like fitting accessories. An eminent London theatrical manager lately enlightened us to some extent as to the reason why, namely, that the resuit generally meant an empty treasury — perhaps in one sensé a very sufficient reason. We hâve never heard this complaint connected with the production of Othello, Hamlet, or Macbeth. We believe it may be traced to the fact that Timon of Athens, for stage purposes, has never been popular. We do not présume to say hère that the work, studiously read, is not as instructive as the other dramas of Shakespeare.

In noticing a work like the one before us, the task of the critic is delightfully easy. We hâve carefully compared the translation with the original, and can assure the French reader that he will lose none of the beauty of the play by reading it in his own language. The value of a translation of any of Shakespeare's works lies in the care the translator takes to follow the original text, and in the présent case the Chevalier de Châtelain has faithfully performed his work, and produced a valuable addition to the literature of France. As a spécimen of the translation (the only one we can afford space for), we give the folio wing, wherein Apemantus, the Cynic, delivers himself of a " grâce " : —

APEMANTUS'S GRACE.

Immortal gods ! I crave no pelf ; I pray for no man but myself ;

Grant I may never prove so fond,

To trust man on his oath or bond ;

Or a harlot, for her weeping ;

Or a dog that seems a sleeping ;

Or a keeper with my freedom ;

Or my friends, if I should need 'em.

Amen. So fall to't.

Eich men sin and I eat root.