make you that. It is not God's purpose that we should be entirely happy here. "This is not our rest." The day will never come which will not bring its worry. And the possibility of terrible misfortune and sorrow hangs over all. There is but One Place where we shall be right; and that is far away.

Yes, more might have been made of all of us; probably, in the case of most, not much more will be made in this world. We are now, if we have reached middle life, very much what we shall be to the end of the chapter. We shall not, in this world, be much better; let us humbly trust that we shall not be worse. Yet, if there be an undefinable sadness in looking at the marred material of which so much more might have been made, there is a sublime hopefulness in the contemplation of material, bodily and mental, of which a great deal more and better will certainly yet be made. Not much more may be made of any of us in life; but who shall estimate what may be made of us in immortality? Think of a "spiritual body"! think of a perfect

ly pure and happy soul! I thought of this, on a beautiful evening of this summer, walking with a much valued friend through a certain grand ducal domain. In front of a noble sepulchre, where is laid up much aristocratic dust, there are sculptured, by some great artist, three colossal faces, which are meant to represent Life, Death, and Immortality. It was easy to represent Death: the face was one of solemn rest, with closed eyes; and the sculptor's skill was mainly shown in distinguishing Life from Immortality. And he had done it well. There was Life: a care-worn, anxious, weary face, that seemed to look at you earnestly, and with a vague inquiry for something,-the something that is lacking in all things here. And there was Immortality: life-like, but, oh, how different from mortal Life! There was the beautiful face, calm, satisfied, selfpossessed, sublime, and with eyes looking far away. I see it yet, the crimson sunset warming the gray stone, -and a great hawthorn-tree, covered with blossoms, standing by. Yes, there was Immortality; and you felt, as you looked at it, that it was MORE MADE OF LIFE!

THAT exquisite writer, Horæ Subsecivæ Brown, quotes, (without comment,) as a motto to one of his volumes, an anecdote from Pierce Egan, which I reproduce here: --

"A lady, resident in Devonshire, going into one of her parlors, discovered a young ass, who had found its way into the room, and carefully closed the door upon himself. He had evidently not been long in this situation before he had nibbled a part of Cicero's Orations, and eaten nearly all the index of a folio edition of Seneca in Latin, a large part of a volume of La Bruyère's 'Maxims' in French, and several pages of Cecilia.'

He had done no other mischief whatever."

Spare your wit, Sir, or Madam! Why should you laugh, and apply the sting in Mr. Egan's story to the case of "Yours Truly "?

I scarcely know a greater pleasure than to be allowed for a whole day to spend the hours unmolested in my friend's library. So much privilege abounds there, I call it Urbanity Hall. It is a plain, modestly appointed apartment, overlooking a broad sheet of water; and I can see, from where I like to sit and read, the sail-boats go tilting by, and

glancing across the bay. Sometimes, when a rainy day sets in, I run down to my friend's house, and ask leave to browse about the library,- not so much for the sake of reading, as for the intense enjoyment I have in turning over the books that have a personal history as it were. Many of them once belonged to authors whose libraries have been dispersed. My friend has enriched her editions with autographic notes of those fine spirits who wrote the books which illumine her shelves, so that one is constantly coming upon some fresh treasure in the way of a literary curiosity. I am apt to discover something new every time I take down a folio or a miniature volume. As I ramble on from shelf to shelf,

46

'Straight mine eye hath caught new pleasures,"

and the hours often slip by into the afternoon, and glide noiselessly into twilight, before dinner-time is remembered.

Drifting about only a few days ago, I came by accident upon a magic quarto, shabby enough in its exterior, with one of the covers hanging by the eyelids, and otherwise sadly battered, to the great disfigurement of its external aspect. I did not remember even to have seen it in the library before, (it turned out to be a new comer,) and was about to pass it by with an unkind thought as to its pauper condition, when it occurred to me, as the lettering was obliterated from the back, I might as well open to the title-page and learn the name at least of the tattered stranger. And I was amply rewarded for the attention. It turned out to be "The Novels and Tales of the Renowned John Boccacio, The first Refiner of Italian Prose: containing A Hundred Curious Novels, by Seven Honorable Ladies and Three Noble Gentlemen, Framed in Ten Days." It was printed in London in 1684, "for Awnsham Churchill, at the Black Swan at Amen Corner." But what makes this old yellow-leaved book a treasure-volume for all time is the inscription on the first fly-leaf, in the handwriting of a man of genius, who, many years ago, wrote thus on the blank page:

"TO MARIANNE HUNT. "Her Boccacio (alter et idem) come back to her after many years' absence, for her good-nature in giving it away in a foreign country to a traveller whose want of books was still worse than her

own.

"From her affectionate husband, "LEIGH HUNT.

แ "August 23, 1839-Chelsea, England."

This record tells a most interesting story, and reveals to us an episode in the life of the poet, well worth the knowing. I hope no accident will ever cancel this old leather-bound veteran from the world's bibliographic treasures. Spare it, Fire, Water, and Worms! for it does the heart good to handle such a quarto.

One does not need to look far among the shelves in my friend's library to find companion-gems of this antiquated tome. Among so many of

"The assembled souls of all that men held wise,"

there is no solitude of the mind. I reach out my hand at random, and, lo! the first edition of Milton's "Paradise Lost"! It is a little brown volume, "Printed by S. Simmons, and to be sold by S. Thomson at the Bishop's-Head in Duck Lane, by H. Mortlack at the White Hart in Westminster Hall, M. Walker under S'. Dunstan's Church in Fleet Street, and R. Boulten at the Turk's Head in Bishopsgate Street, 1668." Foolish old Simmons deemed it necessary to insert over his own name the following notice, which heads the Argument to the Poem:

"THE PRINTER TO THE READER.

"Courteous Reader, There was no Argument at first intended to the Book, but for the satisfaction of many that have desired it, I have procured it, and withall a reason of that which stumbled many others, why the Poem Rimes not.”

The "Argument," which Milton omit

ted in subsequent editions, is very curious throughout; and the reason which the author gives, at the request of Mr. Publisher Simmons, why the poem "Rimes not," is quaint and well worth transcribing an extract here, as it does not always appear in more modern editions. Mr. Simmons's Poet is made to say,

"The Measure is English Heroic Verse without Rime, as that of Homers in Greek, and of Virgil in Latin; Rime being no necessary Adjunct or true Ornament of Poem or good Verse, in longer Works especially, but the Invention of a barbarous Age, to set off wretched matter and lame Meeter; grac't indeed since by the use of some famous modern Poets, carried away by Custom, but much to thir own vexation, hindrance, and constraint to express many things otherwise, and for the most part worse then else they would have exprest them."

We give the orthography precisely as Milton gave

it in this his first edition.

There is a Table of Errata prefixed to this old copy, in which the reader is told, for hundreds read hunderds.

"for we read wee." Master Simmons's proof-reader was no adept in his art, if one may judge from the countless errors which he allowed to creep into this immortal poem when it first appeared in print. One can imagine the identical copy now before us being handed over the counter in Duck Lane to some eager scholar on the look-out for something new, and handed back again to Mr. Thomson as too dull a looking poem for his perusal. Mr. Edmund Waller entertained that idea of it, at any rate.

Eclipses since 1646." The worms have made dagger-holes through and through the "inspired leaves" of this fat little volume, till much strong thinking is now very perforated printing. On the flyleaf is written, in a rough, straggling hand,

"WILLIAM WORDSWORTH,

"Rydal Mount.”

The poet seems to have read the old book pretty closely, for there are evident marks of his liking throughout its pages.

Connected with the Bard of the Lakes is another work in my friend's library, which I always handle with a tender interest. It is a copy of Wordsworth's Poetical Works, printed in 1815, with all the alterations afterwards made in the pieces copied in by the poet from the edition published in 1827. Some of the changes are marked improvements, and nearly all make the meaning clearer. Now and then a prosaic phrase gives place to a more poetical expression. The wellknown lines,

"Of Him who walked in glory and in joy, Following his plough along the mountainside," read at first,

"Behind his plough upon the mountain-side."

In a well-preserved quarto copy of "Rasselas," with illustrations by Smirke, which my friend picked up in London a few years ago, I found the other day an unpublished autograph letter from Dr. Johnson, so characteristic of the great man that it is worth transcribing. It is addressed

"To the Reverend Mr. Compton. "To be sent to Mrs. Williams." And it is thus worded::

"SIR.

"Your business, I suppose, is in a way of as easy progress as such business ever has. It is seldom that event keeps pace with expectation.

"The scheme of your book I cannot say that I fully comprehend. I would not have you ask less than an hundred guineas, for it seems a large octavo.

"Go to Mr. Davis, in Russell Street, show him this letter, and show him the book if he desires to see it. He will tell you what hopes you may form, and to what Bookseller you should apply.

"If you succeed in selling your book, you may do better than by dedicating it to me. You may perhaps obtain permission to dedicate it to the Bishop of London, or to Dr. Vyse, and make way by your book to more advantage than I can procure you.

"Please to tell Mrs. Williams that I grow better, and that I wish to know how she goes on. You, Sir, may write for her to,

"Sir,

"Your most humble Servant, "SAM: JOHNSON.

"Oct. 24, 1782."

Dear kind-hearted old bear! On turning to Boswell's Life of his Ursine Majesty, we learn who Mr. Compton was. When the Doctor visited France in 1775, the Benedictine Monks in Paris entertained him in the most friendly way. One of them, the Rev. James Compton, who had left England at the early age of six to reside on the Continent, questioned him pretty closely about the Protestant faith, and proposed, if at some future time he should go to England to consider the subject more deeply, to call at Bolt Court. In the summer of 1782 he paid the Doctor a visit, and informed him of his desire to be admitted into the Church of England. Johnson managed the matter satisfactorily for him, and he was received into communion in St. James's Parish Church. Till the end of January, 1783, he lived entirely at the Doctor's expense, his own means being very scanty. Through Johnson's kindness he was nominated Chaplain at the French Chapel of St. James's, and in 1802 we hear of him as being quite in favor with the excellent Bishop Porteus and several

other distinguished Londoners. Thus, by the friendly hand of the hard-working, earnest old lexicographer, Mr. Compton was led from deep poverty up to a secure competency, and a place among the influential dignitaries of London society. Poor enough himself, Johnson never shrank back, when there was an honest person in distress to be helped on in the battle of life. God's blessing on his memory for all his sympathy with struggling humanity!

My friend has an ardent affection for Walter Scott and Charles Lamb. I find the first edition of "Marmion," printed in 1808, "by J. Ballantyne & Co. for Archibald Constable and Company, Edinburgh," most carefully bound in savory Russia, standing in a pleasant corner of the room. Being in quarto, the type is regal. Of course the copy is enriched with a letter in the handwriting of Sir Walter. It is addressed to a personal friend, and is dated April 17, 1825. The closing passage in it is of especial in

terest.

"I have seen Sheridan's last letter imploring Rogers to come to his assistance. It stated that he was dying, and concluded abruptly with these words 'they are throwing the things out of window.' The memorialist certainly took pennyworths out of his friend's character.-I sate three hours for my picture to Sir Thomas Lawrence during which the whole conversation was filled up by Rogers with stories of Sheridan, for the least of which if true he deserved the gallows. "Ever Yours,

"WALTER SCOTT."

In the April of 1802 Scott was living in a pretty cottage at Lasswade; and while there he sent off the following letter, which I find attached with a wafer to my friend's copy of the Abbotsford edition of his works, and written in a much plainer hand than he af terwards fell into. The address is torn

off.

"SIR,

"I esteem myself honored by the polite reception which you have given to the Border Minstrelsy and am particularly flattered that so very good a judge of poetical Antiquities finds any reason to be pleased with the work. There is no portrait of the Flower of Yarrow in existence, nor do I think it very probable that any was ever taken. Much family anecdote concerning her has been preserved among her descendants of whom I have the honor to be one. The epithet of Flower of Yarrow' was in later times bestowed upon one of her immediate posterity, Miss Mary Lillias Scott, daughter of John Scott Esq. of Harden, and celebrated for her beauty in the pastoral song of Tweedside,- I mean that set of modern words which begins 'What beauty does Flora disclose.' This lady I myself remember very well, and I mention her to you least you should receive any inaccurate information owing to her being called like her predecessor the Flower of Yarrow.' There was a portrait of this latter lady in the collection at Hamilton which the present Duke transferred through my hands to Lady Diana Scott relict of the late Walter Scott Esq. of Harden, which picture was vulgarly but inaccurately supposed to have been a resemblance of the original Mary Scott, daughter of Philip Scott of Dryhope, and married to Auld Wat of Harden in the middle of the 16th century.

"I shall be particularly happy if upon any future occasion I can in the slightest degree contribute to advance your valuable and patriotic labours, and I remain, Sir, "Your very faithful "and ob Servant "WALTER SCOTT."

This letter is worthy to be printed, and the readers of the "Atlantic Monthly" now see it for the first time, I believe, set in type.

Old Bernard Lintott, at the CrossKeys in Fleet Street, brought out in

1714 "The Rape of the Lock, an Heroi-Comical Poem, in Five Cantos, written by Mr. Pope." He printed certain words in the title-page in red, and other certain words in black ink. His own name and Mr. Pope's he chose to exhibit in sanguinary tint. A copy of this edition, very much thumbed and wanting half a dozen leaves, fell into the hands of Charles Lamb more than a hundred years after it was published. Charles bore it home, and set to work to supply, in his small neat hand, from another edition, what was missing from the text in his stall-bought copy. As he paid only sixpence for his prize, he could well afford the time it took him to write in on blank leaves, which he inserted, the lines from

"Thus far both armies to Belinda yield," onward to the couplet,

"And thrice they twitch'd the Diamond in her Ear,

"Thrice she look'd back, and thrice the Foe drew near."

Besides this autographic addition, enhancing forever the value of this old copy of Pope's immortal poem, I find the following little note, in Lamb's clerkly chirography, addressed to