AUTOGRAPHS OF EMINENT PERSONS
AUTOGRAPHS OF EMINENT PERSONS.
AUTOGRAPHS
It is long since our pages were illustrated with such characteristic lineaments as those on the opposite page. The reader will, however, perceive that we have not entirely forgotten the quaint motto from Shenstone, in our earlier volumes—
"I want to see Mrs. Jago's handwriting, that I may judge of her temper."
Still the annexed Autographs have not been drawn from our own portfolio: they come "frae North," being selected from an engraved Plate of forty-three signatures, published with No. 28 of the Edinburgh Literary Journal, and prefixed to a pleasing chapter on "the connexion between character and handwriting"—from which we select only a few anecdotical traits.
ANNE GRANT: "We have given Mrs. Grant of Laggan's present hand, in which may be discovered a little of the instability of advancing life; but there is a well-rounded breadth and distinctness in the formation of the letters, which seems to carry along with it evidence of the clear and judicious mind of the talented authoress of 'Letters from the Mountains.'"
D. STEWART:—"General Stewart of Garth, a free, bold, military hand; his signature is taken from a letter complimenting in high terms Mr. Chambers's History of the Rebellion of 1745."
ALLAN CUNNINGHAM:—an easy flow of tasteful handwriting. "Allan Cunningham," observes the reviewer, "has raised himself like Hogg; but, instead of the plough, he has handled the chisel; and there is in his constitution an inherent love of the fine arts, which brings his thoughts into more grateful channels. We are well aware that there is a warmth and breadth of character about Cunningham which mark 'the large-soul'd Scot;' but looking forward to his forthcoming Lives of the British Painters, Sculptors, and Architects, we do not conceive this to be in the least inconsistent with the easy flow of his tasteful handwriting."
F. HEMANS: "the very hand—fair, small, and beautifully feminine—in which should be embodied her gentle breathings of household love, her songs of the domestic affections, and all her lays of silvery sweetness and soft-breathing tenderness."
F. LEVESON GOWER, the distinguished translator of Goëthe's Faust.
H. BROUGHAM: "a good deal like his own style of oratory—impressive and energetic, but not very polished." We question the last; but, be this as it may, polish is only desirable so long as it does not impair truth and utility. Plain-speaking has been the best rule of conduct for public men in all ages.
BASIL HALL: the observant traveller and very ingenious writer.
JOHN WILSON (the reputed editor of Blackwood's Magazine); and beneath, F. JEFFREY (late editor of the Edinburgh Review), who took his seat in Parliament not many days since.—"These are two names which stand at the head of the periodical literature of Scotland. The periodical writer must have a ready command of his pen and a versatile genius; he must be able to pass quickly from one subject to another; and instead of devoting himself to one continuous train of thought, he must have a mind whose quick perception and comprehensive grasp enable him to grapple with a thousand. See how this applies to the handwriting of Jeffrey and of Wilson. The style of both signatures implies a quick and careless motion of the hand, as if the writer was working against time, and was much more anxious to get his ideas sent to the printer, than to cover his paper with elegant penmanship. There is an evident similarity in the fashion of the two hands—only Mr. Jeffrey, being much inferior to the Professor in point of physical size and strength, naturally enough delights in a pen with a finer point, and writes therefore a lighter and more scratchy hand than the author of 'Lights and Shadows.' It will add to the interest of Mr. Jeffrey's autograph to know that, as his hand is not at all altered, we have preferred, as a matter of curiosity, to engrave a signature of his which is twenty-three years old, being taken from a letter bearing date 1806."
W. WORDSWORTH: "a good hand, more worthy of the author of the best parts of 'The Excursion,' than of the puerilities of many of the Lyrical Ballads."
DUGALD STEWART: "a hand worthy of a moral philosopher—large, distinct, and dignified."
W. JERDAN: Editor of the Literary Gazette; free and facile as his vein of criticism, and one of the finest signatures in the page.
J. BAILLIE: "it will be perceived that it has less of the delicate feebleness of a lady's writing than any of the others. It would have been sadly against our theory had the most powerful dramatic authoress which this country has produced, written like a boarding-school girl recently in her teens. This is decidedly not the case. There is something masculine and nervous in Miss Baillie's signature; it is quite a hand in which 'De Montfort' might be written."
PERCY B. SHELLEY: Free as its author's wild and beautiful poetry; but it is not the hand of a very clear or accurate thinker.
THOMAS CHALMERS: "We know of few more striking examples of character infusing itself into hand writing, than that presented by the autograph of Dr. Chalmers. No one who has ever heard him preach, can fail to observe, that the heavy and impressive manner in which he forms his letters is precisely similar to the straining and energetic style in which he fires off his words. There is something painfully earnest and laborious in his delivery, and a similar sensation of laborious earnestness is produced by looking at his hard pressed, though manly and distinct, signature. It is in a small space, an epitome of one of his sermons."
A. ALISON; the author of "Essays on Taste," and other works of sound discrimination.
WASHINGTON IRVING; the graceful author of the "Sketch Book," free as a crayon drawing, with all its exquisite light and shade.
JANE PORTER: "a fully more masculine though less tasteful hand than Washington Irving, with whom she happens to be in juxtaposition; and the fair authoress of "Thaddeus of Warsaw," and "the Scottish Chiefs" certainly appears to have as masculine a mind as the elegant but perhaps somewhat effeminate writer of "the Sketch Book."
W. TENNANT: full of originality, and in this resembles his own 'Anster Fair.' The notion may be a fanciful one, but there seems to be a sort of quiet humour in the writing, which makes its resemblance to 'Anster Fair' still more complete. The principle upon which the letters are formed is that of making all the hair strokes heavy, and all the heavy strokes light."
HALCYON DAYS
The following account of the origin and antiquity of Halcyon Days will, I feel convinced, prove a valuable addition to that given by your intelligent correspondent P.T.W., in No. 471 of The Mirror:—
Halcyon Days, in antiquity, implied seven days before, and as many after, the winter solstice—because the halcyon laid her eggs at this time of the year, and the weather during her incubation being, as your correspondent observes, usually calm. The phrase was afterwards employed to express any season of transient prosperity, or of brief tranquillity—the septem placidae dies of human life:
The winter solstice just elapsed; and now
Silent the season, sad alcyone
Builds near the sleeping wave her tranquil nest.
When great Augustus made war's tempest cease,
His halcyon days brought forth the arts of peace.
The halcyon built her nest on the rocks adjacent to the brink of the ocean, or, as some maintain, on the surface of the sea itself:
Alcyone compress'd
Seven days sits brooding on her wat'ry nest,
A wintry queen; her sire at length is kind,
Calms every storm, and hushes every wind.
It is also said, that during the period of her incubation, she herself had absolute sway over the seas and the winds:
May