A Merchant, might vie e'en with Princes in state, As he waits their commands, With his scales and his great snicker-snee in his hands; Does his possible To make the hard Hebrew to mercy incline, And, in lieu of his three thousand ducats take nine, He points to the bond. He so often has conn'd, And says in plain terms he'll be shot if he will. Just fancy the gleam of the eye of the Jew, And grasping the steel, With a business-like air was beginning to feel ་ Here's one thing-you see This bond of yours gives you here no jot of blood! When apprized of this flaw, You never yet saw Such an awfully mark'd elongation of jaw As in Shylock, who cried. Plesh ma heart! ish dat law?»--Off went his three hats, And he look'd as the cats Do, whenever a mouse has escaped from their claw. -Ish 't the law?- why the thing won't admit of a query There's no doubt of the fact, Acto quinto, cap: tertio, Dogi Falieri Nay, if, rather than cut, you'd relinquish the debt, Any farther debate, The Doge, if he pleases, may cut off his pate. How pleased they all were At so joyful an end to so sad an affair? mercy Or Bassanio's delight at the turn things had taken, ! How Shylock got shaved, and turn'd Christian, though late, To save a life-int'rest in half his estate? How the dandified Lawyer, who'd managed the thing, Who appeared as his clerk, Had thrown off their wigs, and their gowns, and their jetty coats, How they pouted and flouted, and acted the cruel, How they scolded, and broke out, Till, having their joke out, They kissed, and were friends, and all blessing and blessed, Of a moonshiny_night, Like the one in which Troilus, the brave Trojan knight, All this, if't were meet, I'd go on to repeat, But a story spun out so's by no means a treat, In an MS., then, sold, For its full weight in gold, And knock'd down to my friend, Lord Tomnoddy, I'm told It's recorded that Jessy, coquettish and vain, Gave her husband, Lorenzo, a good deal of pain; Being mildly rebuked, she levanted again, Ran away with a Scotchman, and, crossing the main, Became known by the name of the « Flower of Dumblane. >> That Antonio, whose piety caused, as we've seen, All colours were faint, Acquired the well-merited prefix of «< Saint,»> Should allow him a fictitious surname to dish up, MORAL. From this tale of the Bard It's uncommonly hard If an Editor can't draw a moral. - 'Tis clear, PITCH GREEK TO OLD HARRY, AND STICK TO CONUNDRUMS!! » To new-married Ladies this lesson it teaches, « You're no that far wrong' in assuming the breeches! » Monied men upon 'Change, and rich Merchants it schools To look well to assets-nor play with edge-tools! Last of all, this remarkable History shows men, What caution they need when they deal with old-clothes-men! So bid John and Mary To mind and be wary, And never let one of them come down the are'! Tappington, April 1. T. I. MISCELLANEA. YOUNG AND DELCAMBRE'S TYPE-COMPOSING MACHINE. The type-composing apparatus we are about to describe to our readers is similar in principle to that which was brought out about a year and a half ago, by the same parties, and excited at that time a considerable sensation; (see Mec. Mag. vol. xxxiv. p. 319) but so wonderfully simplified and improved in all its details as to be in effect quite a new machine. With a spirit and perseverance deserving of the highest praise, the patentees, Messrs. Young and Delcambre, have gone on. surmounting difficulty after difficulty, till at length they have produced a machine which effectually accomplishes nearly all they had in view, while it is wholly free from that multifariousness and complexity, which were said, not untruly, to characterize their first attempts. The machine of itself will not set up types in a state fit for printing from, for that is not what the inventors ever proposed it should do'; but it will facilitate the art of composition so as to enable that to be done by the labour of females and children, which is now performed by the hands and heads of able-bodied men of good education, and done, too, a great deal quicker. Some things there may be to which it is not equal, with manual aid of any sort; as, for example, the setting up of pages in a number of different characters, as Roman, Italic, Greek, &c., or the setting up of algebraic calculations but after so much has been already accomplished by it, we should be hardly warranted in considering these as more than a few remaining difficulties, which the mechanical genius of the country is sure ultimately to overcome. The machine may be now daily scen at work at the premises of Messrs. Young and Delcambre, 110, Chancery-lane. It very much resembles in its general appearance a cottage piano, divested of its case. Like that instrument it has a set of keys, at which the compositor is seated, when about to compose, (instead of standing, as usual.) Of these keys there are as many as there are letters of the alphabet, and varieties of these letters likely to be required, with a due accompaniment of numerals, spaces, doubles, &c. Each key has one particular letter or character engraved upon it; and the keys are so arranged that the letters and characters most in request are placed at one side, where the compositor is seated, and those least wanted furthest off. Attached to these keys are an equal number of upright steel levers, which are connected at top with a series of long brass channels, filled with types, each of the sort corresponding with that marked on the key of the lever in connection with it. The office of the lever is to abstract from the channel above, one type every time it is acted on by the depression of the key; and to check the precipitating tendency of the types, which might interfere prejudicially with the action of the lever, the channels are placed in a position considerably inclined, and the lever made to act sideways in detaching the lowest type of the column. Behind the channels, and at right angles with them, there is an inclined plane, which has a series of curved grooves cut out in its surface, corresponding in number to that of the channels, and communicating with them-all leading to one general reservoir, or receiving-spout, as it is called, at bottom, and all so nicely curved and graduated, in respect to one another, that work as fast as the compositor may, when a type is once liberated from its channel, and dispatched down one of these grooves, it is impossible (except from some accidental obs |