with the language of these districts, which if any one think them much less obscure to a stranger than Dutch or German, let him just take as a sample out of Exmoor,

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Ah, bet, twos Jo Hosegood's zetting vore in tha vurst place. wull lee a rope upreert.-Whan ha hath a took a shord, and a paddled, ha wull tell doil, tell dildrams, and roilly upon enny kesson zoul.— Ad! nifes come athert en, chell gee en a lick ;-chell ly en o'er tha years; chell plim en, chell toze en, chell cotten en, chell thorgen, chell tann en; chell gee en a strat in the chups; chell vagen, chell trem en, chell dash en, chell curry es coat vor en; chell drub en, chell make hes kep hoppy. Ad! chell gee en zutch a zwop!-chell gee en a whappet, and a wherret, and a whisker-poop too. Ad! chell baste en to tha true ben.'-Exmoor Courtship, p. 26.

Or from the northern extremity of the country,―The Appleby School-boy's Speech.

'We were twoa lile lads at hed tae coe et a smiddy, tae hev our new clogs cakert on snout bandit. Hefter that we clanterd dawnt street, en hed tae gang tae a lile tawn coed Burrels: we set dawn that titter up sud coe tudder up neisht mornin, but it happened that I laid ower long en bed. I plaid trouen three heaal days, en then ventert tae gang tael skule. When th' maister sad me, he sed, You sir, come here. I went up sadly freetent. He sed, What for hev yee been sae lang away? I sed, I wod hae cum titter, but th' wedder was sae clashy, anth loans sae clarty, et me grandfadder sed I cud nivir get teaard throut.'-Westmorland Dialect, p. 90.

Authors who have occasion to introduce into their works country people speaking, will find such a collection of incalculable value, and for want of such a source of reference we daily see them make their peasantry talk such language as was not even spoken at Babel.

The Glossary of Grose is much enriched by Pegge's Supplement; but we could add to it still many words of regular provincial use. We should like to see the plan of writing a story, or a dialogue, carried out through any English county. That is the most popular scheme for embodying our dialects, at the same time that you get the local idiom and manner which are quite as peculiar. Tim Bobbin's celebrated works have done that admirably for Lancashire. Yorkshire is rich in such works. Westmorland and Cumberland equally so, as shown in one of the volumes here noticed. In it the dialogues by Mrs. Wheeler are some of the most excellent things of the kind conceivable. They are full of nature and knowledge of country life. We see her characters, and hear them speak. The ballads of Robert Anderson in the same volume, are equally good of their kind. Devon

shire has been well illustrated. The Dialogue in that dialect by the sister of Sir Joshua Reynolds is, independent of its value in this respect, a very interesting production; and is free from the vulgarity which deforms the Exmoor Dialogues. John Noakes and Mary Styles' exhibit the language of Essex perfectly. Durham, Yorkshire, Northumberland, Dorsetshire, Kent, Norfolk, Somersetshire, Sussex, have all their dialectic stories, but the rest of our counties still lack them. The midland counties have scarcely an example of their genuine dialects. Bilbery Thurland, which the publisher says he understands is a tract in the Nottinghamshire dialect, but which we can inform him is a three volume novel to be found in any circulating library, is almost the only exception. We trust Mr. Smith will proceed till he has in this manner completed the whole dialectic circle of England.

Art. VIII. 1. Finden's Tableaux: the Iris of Prose, Poetry, and Art, for 1840. Illustrated with Engravings by W. and E. Finden, from Paintings by J. Browne. Edited by MARY RUSSELL MITLondon: Charles Tilt.

FORD.

2. Gems of Beauty Displayed in Engravings on Various Subjects.

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Series of Twelve highly finished From Designs by Edward Corbould, Esq. With Fanciful Illustrations in Verse. By the COUNTESS OF BLESSINGTON. London: Longman and Co. 3. Heath's Book of Beauty for 1840. With beautifully finished Engravings, from Drawings by the first Artists. Edited by the COUNTESS OF BLESSINGTON. London: Longman and Co.

4. The Keepsake for 1840. Edited by The LADY E. STUART WORTLEY. London: Longman and Co.

5. Heath's Picturesque Annual for 1840. Environs. By LEITCH RITCHIE, Esq. the first Artists, after Original Designs. Co.

Windsor Castle and its With fifteen Engravings by London: Longman and

6. Forget Me Not; a Christmas, New Year's, and Birthday Present for 1840. Edited by FREDERIC SHOBERL. London: Ackerman and Co.

7. The Oriental Annual; containing a Series of Tales, Legends, and With Historical Romances. By THOMAS BACON, Esq., F.S.A. Engravings by W. and E. Finden, from Sketches by the Author and Captain Meadows Taylor. London: Charles Tilt.

8. Friendship's Offering; and Winter's Wreath: a Christmas and New Year's Present for 1840. London: Smith, Elder, and Co. 9. The Little Forget-Me-Not. London: C. Tilt.

WE

E shall not detain our readers by any preliminary criticism on this class of publications. They have long since taken

their rank, and are now looked for, as a matter of course, towards the end of the year. The gaiety of their exterior and their smiling aspect, together with the varied and joyous effusions, both of poetry and prose, which they pour forth, render them no unwelcome visitors at this gloomy season. It is in vain for us

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gravely to protest, that it would be better for the public if other and more sterling works were substituted in their place. The truth is, mankind, whether old or young, must have amusement, and it is well when the form in which they seek it is as innocuous as the volumes before us. Could we have our way, and mould mankind to our pleasure, the proprietors and editors of Annuals would drive but a poor trade; but we must treat men they are, and be content to tolerate a trifle where we cannot awaken the love of divine philosophy.' Nor must it be forgotten, that these are works of art rather than of literature, and address themselves rather to the imagination than the intellect. This is their avowed character, and must, in all fairness, be kept in view in judging of their merits.

Finden's Tableaux is unquestionably the most elegant and beautiful volume of the season; indeed, as a work of art, it would be difficult to find its superior. It contains twelve splendid engravings by the Messrs. Finden and other eminent artists, some of which, as for instance, The Dream,' the Legend of the Brown Rosarie,' The Maid's Trial,' The Pilgrim,' The Beacon,' 'The Death of Luath,' and 'The Wood-Cutter,' are distinguished by felicitous conception combined with a rare degree of artistical skill. An entirely original feature of these plates consists of a series of smaller groups, each of which illustrates some point of the story, and is so arranged as to form a frame'work round the centre figures.' The first impression received from them is that of skill and elegance, but the more fixed and abiding one, is derived from the law of our mental associations. The literary portion of this volume, under the editorship of Miss Mitford, combines tales and poetry; the former unadorned, brief, and inartificial, the latter partaking of the mysticism of the old legend, or of the undefinable attributes of the German imagination. We regret that the nature of these contributions preclude the possibility of quotation. The volume is a gem of the first order, and may safely be introduced into the family circle.

Heath's Gems of Beauty is a volume of similar pretensions to the foregoing. It contains the same number of highly finished engravings, the subjects of which are Hawking,'The Swing,' The Maid of Narni,' The Earthquake,' The Miniatures,' The Brigand,' 'The Lovers,' Retrospection,' 'The Railer,' The Bower, The Flatterers,' and The Heiress.' We find some. difficulty in making a selection. For force of expression The Earthquake' and the 'Brigand' are unquestionably superior,

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for other and softer qualities, having the power to call up thoughtful imaginings, we should instance the Miniatures,'' Retrospection,' and The Flatterers;' but they are all such gems as cannot fail to ornament a drawing-room table or boudoir. The volume is again edited by the Countess of Blessington, whose poetic effusions happily illustrating her subjects, are full of tenderness, elegance, and grace. The following accompanies the Railer,' a highly finished engraving of a noble cavalier, with his gay and playful betrothed.

'Oh, men are deceivers ! they flatter and sigh

To each beautiful maiden they chance to come nigh;
And silly are those who such pleadings believe,
Which never are uttered except to deceive.

'They'll swear that they love, and the very next day,
The very same vows to another they'll pay ;

And their eyes, like their tongues, are so tutored to cheat,
That no wonder they often delude the discreet.

'O Nature! I'm sure I could better thy plan,
And make earth an Eden untrodden by man ;
Where women, from terror and treachery free,
Might live their best days, without loving-like me.

Forget ye, fair railer, from poor Adam's side

"Twas the rib which was stolen that made him his bride?
So without us false men, (though to thwart you I grieve,)
There could be no woman-there had been no Eve!'

Our other extract, illustrating a beautiful picture of a lady at her toilette accompanied by two hand-maids, needs no commendation. It is too life-like to require praise.

'Lady.

He'll know me as in mask I glide along ;'

Rose. Know you!-he must! . . . where else amid the throng
Could my lord see a form so full of grace,
Lady-as matchless as your matchless face?'
Lady. Hush! Hush! thou flatterest, Rose !'

Rose.

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Nay, lady, nay !
I but repeat what even the critics say.
Try yonder mirror, and the shadow see

Of what enchants the town as well as me.'

Lady. Mary is dumb-come child—no more refrain;

Let's hear thy thoughts, for Rose will make me vain.'
Mary. Oh lady, when my eyes, well pleased, repose
Upon some fragrant, new blown, blushing rose,
I feel the loveliness I cannot speak-

When rapture's strongest, then are words most weak ;
So when I dare to gaze

Lady.

'Hold, flatterer, hold!

Too much of this . . . I bought this brooch of gold
To day for thee; and, Rose, this ring be thine;
Thou'lt value it, because it has been mine.'

Rose, Thanks, beauteous lady, generous as fair.'
Mary. What you have touched 'tis bliss indeed to wear.'
Lady. But, Rose, and, Mary, flatter me no more;

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I like it not-I told you so before.'

Mary. (aside) 'O no-she likes not flattery, simple thing,
Witness my pretty brooch.'

And my gold ring.''

The Book of Beauty contains twelve highly finished engravings from paintings by some of our most eminent artists. Our duty as critics sadly overrules our gallantry, and compels the assertion that some of these distinguished ladies have but slender title to the place assigned them in such a work. The Countess Zavadousky, and the Lady Worsley must, however, be excepted from this statement,-the combination of intellect with true feminine loveliness in the former, and the serenity and trustfulness with all 'home affections,' which speak in the countenance of the lat er, establish their indisputable title. The literary contents of the volume are skilfully diversified, and some of the contributions possess very considerable merit. Sir E. Lytton Bulwer's Song entitled 'The Wife to the Wooer,' cannot fail to be extensively quoted, though we much question whether the author's design of its being set to music will be accomplished. The following brief Sonnet by Barry Cornwall will better suit our space.

A LOVE SONG.

'Laugh not, nor weep; but let thine eyes
Grow soft and dim (so love should be ;)

And be thy breathing tender, quick,
And tremulous, whilst I gaze on thee.

And let thy words be few or none;
But murmurs, such as soothe the air

In summer when the day is done,

Be heard, sweet heart, when I am there.

And I-oh! I, in those soft times,

When all around is still and sweet,

Will love thee more a thousand times,
Than if the world was at thy feet!'

Our only other extract must be from a contribution of Mr. Milnes, a favorite poet, the sweetness of whose song is in happy keeping with the simplicity and truthfulness of his mind.