"Undertake nothing beyond your Strength" is emblemised by the giants scaling the heavens: one very fine figure, full of action, in the centre, is most admirably drawn.
"Education and Habit" is another, full of meaning. Two dogs are running: one after game, and another to a porringer. Some one has translated the verses at the bottom on the back of the print as follows. This has a fine group of figures in it:
"When taught by man, the hound pursues The panting stag o'er hill and fell, With steadfast eyes he keeps in view The noble game he loves so well. A mongrel coward slinks away, The buck, the chase, ne'er warms his soul; No huntsman's cheer can make him stay, He runs to nothing, but his porridge bowl.
Throughout the race of men, 'tis still the same, And all pursue a different kind of game. Taverns and wine will form the tastes of some, Others success in maids or wives undone. To solid good, the wise pursues his way; Nor for low pleasure ever deigns to stay. Though in thy chamber all the live-long day, In studious mood, you pass the hours away; Or though you pace the noisy streets alone, And silent watch day's burning orb go down; _Nature_ to thee displays her honest page: Read there--and see the follies of an age."
The taste for emblemata appears to have passed by, but a good selection would be I think received with favour; particularly if access could be obtained to a good collection. And I should like to { 615} see any addition to the REV. J. CORSER's list in the Number of the 14th of May.
When I entered on the game of criticism in "N. & Q.," I deemed that it was to be played with good humour, in the spirit of courtesy and urbanity, and that, consequently, though there might be much worthless criticism and conjecture, the result would on the whole be profitable. Finding that such is not to be the case, I retire from the field, and will trouble "N. & Q." with no more of my lucubrations.
I have been led to this resolution by the language employed by MR. ARROWSMITH in No. 189., where, with little modesty, and less courtesy, he styles the commentators on Shakspeare--naming in particular, KNIGHT, COLLIER, and DYCE, and including SINGER and all of the present day--_criticasters_ who "stumble and bungle in sentences of that simplicity and grammatical clearness as not to tax the powers of a third-form schoolboy to explain." In order to bring _me_ "within his danger," he actually transposes two lines of Shakspeare; and so, to the unwary, makes me appear to be a very shallow person indeed.