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American lines come nowhere into contact, or even into the neighbourhood of the French line. The two stations are several hundred yards apart, and yet messages sent at one station are distinctly read at the other station; the only connection between the two being through the earth; and it is quite clear that they would be so received and read at fifty stations in the neighbourhood all at once. The explanation is obvious enough: the potential of the ground in the neighbourhood of the stations is alternately raised and lowered by the powerful battery used to send the American signals. The potential of the sea at the other end of the short insulated line remains almost if not wholly unaffected by these, and thus the island acts like a sort of great Leyden jar, continually charged by the American battery, and discharged in part through the short insulated French line. Each time the American operator depresses his sending key, he not only sends a current through his lines, but electrifies the whole island, and this electrification is detected and recorded by the rival company's instruments.

No similar experiment could be made in the neighbourhood of a station from which many simultaneous signals were being sent; but it is perfectly clear that unless special precautions are taken at isolated stations, an inquisitive neighbour owning a short insulated wire might steal all messages with

The second station is worked by the French Transatlantic Company, and is furnished with exceedingly delicate receiving instruments, the invention of Sir William Thomson, and used to receive messages from Brest and Duxbury. These very sensitive instruments were found to be seriously affected by earth-currents; i.e., currents depending on some rapid changes in the electrial condition of the island; these numerous changes caused currents to flow in and out of the French company's cables, interfering very much with the currents indicating true signals. This phenomenon is not an uncommon one, and the inconvenience was removed by laying an insulated wire about three miles long back from the station to the sea, in which a large metal plate was immersed; this plate is used in practice as the earth of the St. Pierre sta-out making any connection between his intion, the changes in the electrical condition or potential of the sea being small and slow, in comparison with those of the dry rocky soil of St. Pierre. After this had been done, it was found that part of the so-called earthcurrents had been due to the signals sent by the American company into their own lines, for when the delicate receiving instrument was placed between the earth at the French station and the earth at the sea, so as to be in circuit with the three miles of insulated wire, the messages sent by the rival company were clearly indicated, so clearly indeed, that they have been automatically recorded by Sir William Thomson's syphon recorder.

It must be clearly understood that the

strument and the cable or land line. Stealing messages by attaching an instrument to the line was a familiar incident in the American War; but now messages may be stolen with perfect secrecy by persons who nowhere come within a quarter of a mile of the line. Luckily, the remedy is simple enough.

All owners of important isolated stations should use earth-plates at sea, and at sea only. This plan was devised by Mr. C. Varley many years ago to eliminate what we may term natural earth-currents, and now it should be used to avoid the produc tion of artificial earth-currents which may be improperly made use of.

FLEEMING JENKIN.

A TALE OF A TRUMPET. At one of the en- | peas, and put up her trumpet to hear his reply tertainments recently given to the Duke of Edin- to her question. The unlucky Khitmutgar, misburgh in India, an old lady was present, who, understanding her wishes, instantly transferred being afflicted with deafness, carried an ear- a bountiful helping of peas to the open mouth of trumpet. She had occasion to summon one of her acoustic instrument. The Graphic. the table-servants, who was carrying a dish of

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NUMBERS OF THE LIVING AGE WANTED.

The publishers are in want of Nos. 1179 and 1180 (dated respectively Jan. 5th and Jan. 12th, 1867) of THE LIVING AGE. To subscribers, or others, who will do us the favor to send us either or both of those numbers, we will return an equivalent, either in our publications or in cash, until our wants are supplied.

PUBLISHED EVERY SATURDAY BY

LITTELL & GAY, BOSTON.

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FOR EIGHT DOLLARS, remitted directly to the Publishers, the LIVING AGB will be punctually for. warded for a year, free of postage. But we do not prepay postage on less than a year, nor where we have to pay commission for forwarding the money.

Price of the First Series, in Cloth, 36 volumes, 90 dollars.

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Any Volume Bound, 8 dollars; Unbound, 2 dollars. The sets, or volumes, will be sent at the expense of the publishers.

PREMIUMS FOR CLUBS.

For 5 new subscribers (840.), a sixth copy; or a set of HORNE'S INTRODUCTION TO THE BIBLE, unabridged, in 4 large volumes, cloth, price 810; or any 5 of the back volumes of the LIVING AGE, in numbers, price $10.

IN MEMORIAM.

THE death of Mr. Eliakim Littell- May 17, 1870-who was for twenty-six years editor of the Living Age, closed a life of rare virtue and usefulness. To the readers of this magazine, who have so often been refreshed and instructed by his cultivated taste and discriminating judgment in literature, a brief memoir of him may not be unacceptable.

tion of several other periodicals than those already named, which, though not pecuniarily successful, were always edited with ability, and with the same earnest endeavour to refine and elevate the popular taste and character. Never was there a more truly public-spirited man, in the highest sense of the term. His wish to do good was shown equally in his boundless private benevolence, and in his consistent preference of Mr. Littell was born January 2, 1797, in usefulness to profit in his business undertakings. Burlington, New Jersey, of which state his an- During the late war Mr. Littell upheld the cestors on both sides were among the very ear-national cause earnestly and hopefully. At this liest settlers. His paternal grandfather, from crisis he made a number of important contribuwhom he derived his name, was a patriotic and tions to the discussion of difficult financial probactive partisan officer in the Revolutionary war. lems, and his opinions on the currency, taxation, Mr. Littell's career in the world of letters and questions of finance, were often sought by commenced in Philadelphia, as a general pub-statesmen and men high in office. He was the lisher, but his interest and attention very soon author of the scheme of revenue reform known became concentrated upon periodical literature. as the "Compromise Tariff," which was adopted In 1819 he began to publish and edit the Na- and carried through Congress by Mr. Clay, durtional Recorder, a weekly journal which was af-ing the administration of President Jackson. It terwards changed to the Saturday Magazine, is an evidence of Mr. Littell's modesty that this and finally merged in the Museum of Foreign fact was not known to some of his most intimate Literature and Science. The last was a monthly friends until after his death. publication and included nearly everything that He had from early youth an intense thirst was really worthy of reproduction in the period- for knowledge, and diligently availed himself of ical literature of Great Britain. For twenty-one every opportunity to gratify this taste. Few years it had a brilliant reputation, and held the persons possessed a more thorough knowledge foremost rank among publications of a similar of English literature. In the older writers his character in this country. It was afterwards reading had been extensive and varied, and his united for a short time with another publication, occupations were such as to facilitate his sounder the name of the Eclectic Museum of For-quaintance with authors of more recent date. eign Literature, and published in New York.

He wrote fluently and gracefully both in prose and verse, and his letters were remarkable for an aptness of expression, an ease and sprightli ness, which will not be forgotten by those who enjoyed the privilege of correspondence with him.

In 1844 he removed to Boston, where, under the cordial approval and encouragement of Judge Story, Chancellor Kent, Mr. Prescott, John Quincy Adams, and other leading men of taste and judgment, he entered upon the editorship and publication of the Living Age, a Mr. Littell's domestic and social character magazine of wider scope in literature and sci- will be ever lovingly remembered by those who ence than any he had previously conducted. To knew him well. The tenderness of his family those who have been familiar with its pages it affections, the fidelity and disinterestedness of is scarcely necessary to speak of its merits. Dr. his friendships, his genial manner and gentle Allibone, in his Dictionary of Authors, observes, courtesy to all with whom he came in contact, that "few men have laboured so long and so the pleasant wit and mirthful fancy which age successfully in the great cause of public educa- had not withered and which lent such a charm tion, and few, therefore, are so well entitled to to his conversation, and the sincerity and truth the gratitude of their countrymen, as the subject that were impressed upon all his acts and opin of this notice. Many of them owe to him their ions, will live in the memory of his family and first introduction to the great minds of the past friends. His religious convictions were earnest half-century; the commencement of that profita-and abiding, and his life and character were ble acquaintance which has soothed the pangs of sorrow, and dispelled the gloomy shades of care, and made them wiser and better, happier and more contented men.

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In early life Mr. Littell's great mental activity and industry were manifested in the projec

moulded and guided by them. He died in the communion of the Protestant Episcopal Church to which he had been long and ardently attached, with vigour of mind unabated, sustained by a reasonable, religious and holy hope; at peace with God and in perfect charity with all men.

Translated from the Revue des Deux Mondes.

THE POETRY AND POETS OF THE PRESENT

GENERATION.

WHAT is poetically called a bird-concert on spring mornings is an unrestrained warbling, where it is difficult to distinguish the shrill cry of the tomtit, the loud voice of the oriole, or the varying chirp of the sparrow. A reader, without prejudice or previous preparation, might find something analagous in the confusion of songs which our poets offer to an inattentive audience. Indeed at the first glance cast at the poetry of the last three or four years we see nothing but resemblances: it seems to be a sign of the times; nearly all belongs to lyric poetry, all is detached and fragmentary, the spirit of enterprise and ambition is wanting. The form does not differ perceptibly in one writer or another; a little more, or a little less skill in innovation; the division of the verses and the revivification of the language are everywhere the object of serious study. When we look a little closer, this uniformity disappears: the process being seemingly the same, there are yet different attempts, the same methods are used to attract, but the spirit is not the same. The stanza which is applicable to any subject, the inflexible sonnet, the Dantean terzet which is so much used, are employed for the most opposite designs. Poets expatiate upon the art which they practise, but they do not agree as to the object of that art.

the same time, as it is the enemy of that
profound and penetrative style of poetry,
whose most powerful exponent is Alfred de
Musset, it deprives all sentiments, even that
of love, of everything personal; it affects an
unalterable calm which makes it resemble
those marble gods whose outlines it likes
Besides it is wrong
perpetually to retrace.
in considering itself sole possessor of the
traditions and doings of the masters: more
than one poet of our days can handle rhythm
and color, more than one can describe and

paint nature, without forgetting that he has
a heart, without affecting an Olympean fri-
gidity.

The almost absolute royalty of the descriptive school has produced a reaction; that is the most obvious symptom of a new tendency. There are young writers for whom their art is something ennobling both to the poet and to his hearers, a sacred force which spreads to thoughts and actions. They understand thus that poetic magnetism spoken of by Plato, that magnetic chain passing from the Muse to him who repeats fine verses. One of them has perfectly expressed it,

The beautiful is in art as in life,

Old men failing, the young will tell it. Contemporaneous poetry, then, began by attempts more or less brilliant which make it something exterior and impersonal; when tried it proved something very different. In proposing these as the principal subject Many regard it as an ornament of society; of our sketch, we shall find memorials of the beyond the pleasure which it affords, they starting point and traces of the road already see nothing to be demanded from it. One traversed. Many descriptions and pictures of the most characteristic traits of the litera- which are not all cold and systematic, ry period corresponding to the second em- praiseworthy efforts to make philosophy pire, is that art has never been more re-speak in verse, a character more humane garded for its own sake. Hence, perhaps and cordial in some of our young authors: comes the optimism of an official report, ad- such are the results which we have withdressed to the Superintendent of Public Ed- drawn from the numerous collections which ucation, last year, on the progress of that have appeared during the last three years. line of literature. A too confident authority and a too eager compliance dictated its inferences. This report will, at least, How has the descriptive style so decried remain as a curious monument of the prog- towards the end of the restoration regained ress accomplished in our days, not only favor with us, so much so that the poetry by poetry in general, but by such as is a of the second empire recalls that of the first delight alike to mind and ear. Descriptive in more than one point? How have the and musical, this school considers itself the conceits, the minutiae of a worn-out school most direct heir of those masters who have been renewed at the close of a renovation revived among us rhythm and color. At exactly designed to dismiss them? For-.

I.

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merly methodical and coldly ingenious with | The mythology to which they remain faithful, Delille, Esménard, Michaud, descriptive ranks them above those who invent the napoetry, without changing basis, has to-day ture they describe. When it is not found the form and allurements of the old. In- in their imagination, they seek it in Greek stead of gleaning the field with classic reg- or Sanscrit literature. Some reservation ularity, it collects its sheaf in the romantic must be made in favor of the former, who, style, first on this side, then on that. For- at times, remembers his natal isle and the merly, descriptive poets said that everything Orient sun. Love of country is more powwas fitted for verse, and put into ingenious erful than any system,' so may be renrhyme what was only meant for prose; the dered a celebrated line from Ovid, whose descriptive poets of the present day say metamorphoses M. de Lisle has perhaps poetry is everywhere, it is enough to know read too often and his elegies not often how to separate it. How many times has it enough. For once, true nature, taken in the been said, it is in the beaming star, in the act, has served him well. His "Jaguar's moaning wave, in the bending flower, in the Dream" is a fit mate for the " Jungles " of his drop of dew and in the blade of grass! and "Poems and Poetry." He is however an how many commonplaces do we owe to erudite descriptive poet, as well as M. Louis these unlimited exaggerations! Because Ménard; but, if we dwell upon him, it is descriptions were clothed in lyric garb, because he is the most skilful versifier of they have often passed for poetry, the very our age, and has exercised an incontestable process of renewal serving to hide the rep- influence over young poets. In the absence etitions. No, the most beautiful, most di- of a writer who can seize the heart, youth vine of arts, is not in the star nor in the blade may be caught by the ears, detail captures of grass. It is taking it in a gross sense to it. On the death of Alfred de Musset, M. understand it thus. To describe is some- Leconte de Lisle was ready to receive a times well, to paint is better, but what part of his inheritance. Verse bold in outshould always be done, is to interpret na- line, phrases both musical and new, go far ture, not to render it materially, nor to to seduce imaginations which never yield make it up according to books. Besides half way. If we add that the art of handthis, the poet must not always attach him- ling color and adapting sound, which is the self to external nature, he must be able to secret of the whole, is the most easy thing look within himself and admire the horizons to be communicated from master to pupil, of the soul; it will not be astonishing that M. Leconte de Lisle, without being popular, should have a school, and that of all the poets of our day, he can fairly boast, not the most admirers, but the most disciples.

The originality of his manner was the cause of his warrantable success; he had neither the false elegancies and the old

broken lines of the so-called classic school, nor the labored inaccuracies and puerile effects of the romantic school. In addition,

To hearken to the echo of his genius in his soul. To invent, to copy, or interpret nature are three ways of describing which may serve to mark the character of many contemporary poets. We may be permitted to adopt this division for them, were it only to introduce a little order in the conflict of talents, which, by their diverse temperaments and inclination to imitation, escape vigorous classification. If we rank them according as they follow external objects under such he has, above all, a manner of his own, or such aspects, we do not pretend that they which is the principal defect that he has always remain in the same point of view; imparted to his imitators. It is well to if we even class them among descriptive make good verses, to put into them brilwriters, we mean to say only that philosoph-liancy, breadth, great harmony; but to ical views or moral pictures are equally foreign to them.

Some poems which appeared in a rather too miscellaneous collection, the "Contemporary Parnassus," alone permit us to mention here MM. Leconte de Lisle and Louis Ménard.

pique one's self on these qualities, to think

that all is done because these details are

achieved, is to fail in the aim of poetry, although one become a writer like the first exemplar. Do not let us give too much

Crescit amor patriæ, ratione valentior omni.

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