to record: Mr. Charles Turner, to record. Mr. Charles Turner,
A.R.A., the mezzotint engraver A.R.A., the mezzotint engraver
of his Liber Studiorum, and his of his Liber Studiorum, and his
oldest and most constant friend, oldest and most constant friend,
was so desirous of securing a like- was so desirous of securing a like-
ness of him, that he offered to pay ness of him at all hazards, that he
Sir Thomas Lawrence, or any other availed himself from time to time
artist that Turner should name, of every opportunity of collecting
if he would only consent to sit, memoranda for the purpose. He
but he was not to be prevailed at length obtained a most
upon. Mr. C. Turner was, however, characteristic portrait in oil,
determined to have a likeness small, half-size, in the act of
of him at all hazards, and sketching. The singularity of his
availed himself from time to time dress and figure _have_ been
of every opportunity of collecting scrupulously attended to, and it
memoranda for the purpose. He has been pronounced an admirable
at length obtained a most charact- and faithful likeness. I believe
eristic portrait in oil, small, that Mr. C. Turner engraved this
half-size, in the act of sketching. portrait.”
The singularity of his dress and
figure _have_ been scrupulously
attended to, and it has been
pronounced an admirable and faithful
likeness. It will be gratifying to
Turner’s friends to know that Mr.
C. Turner intends to engrave the
portrait.”
If anything were needed to show the worthlessness of Mr.
Thornbury’s “Life of Turner,” it is the unnecessary appropriation
of this passage. One would think that a chapter devoted
especially to “The Turner Portraits,” about which so much
curiosity prevails, would be at least marked by some research.
But Mr. Thornbury cuts out my paragraph in all its detail, as
related to me by Charles Turner himself, bad grammar--a common
failing with Mr. Thornbury (here printed in Italic)--included;
and having run his pen through the rash assertion of the
engraver, that he had offered to give a commission to Sir Thomas
Lawrence, winds up simply with the remark, “I believe that Mr.
C. Turner engraved this portrait.” Mr. Thornbury, perceiving in
my statement of ten years ago that Mr. C. Turner intended to
engrave it, assumes that he did engrave it. By happy accident, in
no way, however, due to Mr. Thornbury’s research, he has hit the
mark; for on the death of Charles Turner, about three years ago,
the secret came to light, at the sale of his effects, as every
_dilettanti_ knows, of his having engraved this portrait as long
back, apparently, as twenty years before. What criticism, then,
can be too strong to denounce Mr. Thornbury’s random assertion,
“I _believe_ Mr. Charles Turner engraved this portrait”? A
print from this plate, which it is suspected the sly engraver
destroyed, may be seen at Mr. Graves’, the eminent publisher of
Pall Mall.
My memoir of Turner, it may be added, was drawn up from vivâ voce
information imparted to me by some of the great artist’s most
intimate friends within three days of his decease,--Mr. Charles
Turner, one of his executors, and Mr. Leslie, both of whom have
since followed him to the grave; Mr. Windus, and others.
Speaking of dear old John Britton, the well-known author of many
beautiful works of vast and original research on the Cathedrals
of England--a man whose memory is cherished by every true-hearted
antiquary with homage and respect--Mr. Thornbury says (vol. ii.
p. 151)--“There is a story told of Turner’s love of concealment,
which connects him with Britton, the publisher of so many
architectural works; a plausible and, I fear, a very mean man;
one of those bland, selfish squeezers of other men’s brains
that still occasionally disgrace literature.” To whom should
this scandalous observation be addressed? I trust that some new
biographer of Turner will arise to board this piratical craft,
and rescue the valuable freight which the painter’s bosom friends
have committed to its keeping. It must be painful, indeed, to
these gentlemen, to Mr. Trimmer, and to Mr. Ruskin especially,
to find their precious reminiscences mixed up with such an
unlettered commentary. How light the manner, how flippant the
treatment, how utterly unworthy of a great subject!
LOVELL REEVE.
It may be as well to observe that Mr. Thornbury in no way
spares other writers in _his_ criticisms: will any one, twenty
years hence, quote Mr. Thornbury’s own words in regard to
himself:--“Tawdry rubbish--now all but forgotten, and soon to
sink deep in the mud-pool of oblivion.”
Mr. Thornbury’s preface is good--indeed, we believe he never
writes anything badly, but it reminds us of Dr. Johnson, who
wrote capital prefaces to works which, if he ever read, he
never wrote. It is written in his richest style, redolent with
word-painting: he uses adjectives in the happiest manner.
Unfortunately this use of adjectives is apt to lead a writer
from dry facts; and the above “Life” appears to have got him
into a little trouble, for the details of which we must refer
to the _Athenæum_, 1861, vol. ii, where Mr. Masson complains of
Mr. Thornbury’s disrespect (p. 808), “Inventions about Turner,”
from Mr. Henry M‘Connel (848)--“Turner and Girtin,” a refutation
from Mr. W. H. Carpenter, Keeper of the Prints and Drawings at
the British Museum; 1862, vol. i., p. 19--from Mr. John Pye,
and (296, 331)--from Mr. Henry Elliot (G. Lewis, 334), all
complaining.
A captious letter from Mr. Thornbury in the number for 22nd
February, 1862, leaves him in a worse light than if he had
been silent. We therefore omit it. He ends by saying that “no
falsehood and no intentional plagiarism shall ever stain a single
page I write,” which probably referred to the future, for “The
Life of Turner” disproves these words.
Mr. Thornbury, amongst other works, has written “The Monarchs
of the Main, 1855.” In the preface to this he claims at least
“originality,” which seems to consist, according to his own
account, in his having taken it, more or less, from three other
works, without, as Professor De Morgan somewhere remarks, any
evidence being left as to whether it is more or less. The same
observations will apply to “British Artists, from Hogarth to
Turner; being a series of Biographical Sketches, by W. T.,
&c., 1861,” which seems to be compiled almost entirely from
(apparently) original sources.
THURSTON (Henry J.) _pseudonym_ [FRANCIS TURNER PALGRAVE].
The Passionate Pilgrim; or, Eros and Anteros. Lond., 1858.
TIM (Uncle). See Cladpole (Tim).
TIMON (John) _pseud._ [D. G. MITCHELL].
Preface to “The Lorgnette.” See An Opera Goer.
TINTO (Dick) _pseud._ [S. C. GOODRICH, jun., son of Peter Parley].
TITCOMB (Timothy) Esquire, _ps._ [Dr. J. G. HOLLAND].
Titcomb’s Letters to Young People, Single and Married. 12th edit.,
1859.
Letters to the Joneses. 11th edit., New York, 1864.
TITMARSH (Michael Angelo) _pseud._ [WILLIAM MAKEPEACE THACKERAY].
The Paris Sketch Book, 1840. The Second Funeral of Napoleon, 1841.
Mrs. Perkins’ Ball [1847]. Our Street, 1848. Doctor Birch, &c., 1849.
Rebecca and Rowena, 1850. The Kickleburys on the Rhine, 1851 and
1866. The Rose and the King; or, the History of Prince Giglio and
Prince Bulbo, 1st and 3rd edits., 1855.
TOBY (Simeon) _pseud._ [GEORGE TRASK].
Thoughts and Stories on Tobacco, for American Lads, or Uncle Toby’s
Anti-Tobacco Advice to his Nephew, Billy Bruce. 5th edit., Boston,
1852.
TODHUNTER (Isaac).
Compiled an Algebra [first edition 1858, 2nd edit. 1860]
admittedly a good one, but it appears from the following
pamphlet, which accuses him of _plagiarism_, that it is not all
his own book:--
An Exposure of a Recent Attempt at Bookmaking in the University of
Cambridge. By T. Lund. Lond., _Spottiswoode_, 1858.
An Answer to Mr. Lund’s Attack on Mr. Todhunter. Cambridge, _Palmer_,
1858.
The copyright of Wood’s work having expired, it is public
property, so far as law is concerned. Mr. Lund in his pamphlet
proves that Mr. Todhunter has taken, without acknowledgment,
what he had a legal right to take, to the extent of under
one-thirtieth of his whole book.
Mr. Todhunter admits the charge, but defends his course on the
ground that Wood is so well known that any use made of him would
at once be recognised, that the omission was out of consideration
for Mr. Lund.
But, as the writer in the _Athenæum_, from whence we take
this note (1858, ii. 81, 110), observes, a person already in
possession of Wood, and wishes to have another author, would
be grossly deceived if he bought the same under another name:
he adds that there is a very lax view of such things taken at
Cambridge, and instances a case, but, we regret to say, gives no
names.
TOMKINS (Isaac) Gent., _ps._ [Lord BROUGHAM?]
Thoughts on the Aristocracy of England, with a postscript and a
letter to J. Richards, Esq., from P. Jenkins. 1st and 5th editions.
Lond., Hooper, 1834; 23 pp.
See Edin. Rev., April 1835, p. 65.
A Letter to Isaac Tomkins, Gent., author of the Thoughts on the
Aristocracy. With a postscript and a letter to J. Richards, Esq.,
M.P., from Mr. P. Jenkins. 5th edition, Lond., 1835; 11 pp.
The pamphlet upon “The Aristocracy of England” is announced as
the first of a series.... The publisher is one of the regular
agents for that _system_ of societies, of which the eldest
assumed the title of “The Society for the Diffusion of Useful
Knowledge,” and the latest has not feared to proclaim itself
“The Society for the Diffusion of _Political_ Knowledge.” The
founder and president of all these ultra-philanthropic societies
is Henry Lord Brougham and Vaux; and common report has ascribed
to his lordship’s versatile pen the pages which his lordship’s
agent, Mr. Hooper, has just published as the production of “Isaac
Tomkins, Gentleman.”
We have, from internal evidence, no sort of doubt that the public
report is in this instance correct.--Quarterly Review, liii. 540.
A Letter to Isaac Tomkins (against Lord Brougham). By Peter Wilkins
[_pseud._]. Lond., 1839.
TOUCH’EM (Timothy) _phren._ [THOMAS BECK].
The Age of Frivolity. A poem. 2nd edit., Lond., 1807.
TOUCHSTONE, _phren._ [M. BOOTH].
Roadside Sketches in the South of France, with 24 illustrations by
----. Lond., 1859.
TREBOR (Eidrah) _anastroph_ [ROBERT HARDIE].
Hoyle made Familiar. Edin., 1830.
TRUCK (Bill) _pseud._ [ ].
Man-o’-War’s Man. Lond., _Blackwood_, 1843.
In Blackwood’s Magazine, 1822, signed S.
TRUSTA (H.) _phren._ [Mrs. ELIZABETH STUART PHELPS].
The Tell-Tale; or Sketches of Domestic Life in the United States. By
H. T. and Grace Greenwood [_ps._], 1852.
A Peep at “Number Five.” _Boston, U.S._, 1852.
The Tell-Tale; or Home Secrets told by Old Travellers. Boston, 1853.
And several others.
TWO BROTHERS, _demonym_ [ALFRED and CHARLES TENNYSON].
Poems. Lond., _Simpkin_, 1832.
N. & Q. 3 S. ix. iii.
TWO BROTHERS, _demonym_ [JULIUS CHARLES HARE and AUGUSTUS WILLIAM
HARE].
Guesses at Truth. Lond., 1847; _Macmillan_, 1866.
TWO BROTHERS, _demonym_ [A. MONEY and GEORGE HENRY MONEY].
Sevastopol: our Tent in the Crimea. Lond., 1856.
U.
URBAN (Sylvanus) _pseudonym_ under which, for upwards of one hundred
years, the Gentleman’s Magazine has been edited. It contains an
enormous mass of biography (and _fiction_) in its very useful
obituary notices. The Rev. Edward Walford is its present editor.
“In the summer of 1825 I had apartments in the Rue Verte,
Brussells. My _locataire_ was a Monsieur _Urbain_; and his not
very youthful daughter took much pride in telling me of their
lineal descent from an Englishman of that name--a distinguished
writer, she said, in prose and in verse. Seeing me somewhat at a
loss to identify this ancestor of her’s, she further informed me
that his prænomen was _Sylvain_. I of course recognised our old
acquaintance of St. John’s Gate, and delighted Mademoiselle with
the assurance that her great-grandfather’s names, as well as his
talents, had been transmitted through his descendants to that
day.”--E. L. S. in _N. & Q._
V.
VALDARFER (Cristofer) _ps._ [JOSEPH HASLEWOOD].
Bibliomaniac Ballad. [Lond., 1815?]
VAN DEUSEN (Increase) and MARIA, his Wife, _ps._ [ ].
Spiritual Delusions, being a Key to the Mysteries of Mormonism,
exposing the particulars of that astounding Heresy, the spiritual
wife system. New York, 1854.
V. B. _init._ [Vincent Brooks].
A skilled chromo-lithographer, who generally signs these
initials. The drawing and colouring of some of his pictures in
Cinderella and other children’s books published by Mr. Routledge
is very good indeed.
VERDELLO (Cordrac) _phrenonym_ [RICHARD HARRIS].
The English Press and its Poets, a satire. Lond., printed by Charles
Whittingham, 1856.
VINDEX, _phrenonym_ [ ].
Considerations on the Policy, Justice, and Consequences of the Dutch
War. Lond., _Effingham Wilson_, 1832.
Vindex is a well-known public character. He was the colleague
of “Civis” during the greater part of the American war, and
afterwards joined with “Politicus” in opposing the French
Revolution.--_Edin. Rev._ Jan. 1833.
VINDEX. See the Author of the Eclipse of Faith [HENRY ROGERS].
W.
W. A. C. _initialism_ [CHATTO].
Views of Ports and Harbours, Watering Places, Fishing Villages....
Lond., 1838.
WALFORD (Flora) _pseud._ [G. W. BESSEY?]
Sketches from Flemish Life. Lond., 1843.
WALNEERG, _ananym_ [THOMAS KNOX].
Rhymed Convictions in Song, &c. Lond. and Edin. [1852].
The ananym of the author’s birthplace, Greenlaw.
W. and R. C. _init._ [CHAMBERS].
Shipwrecks and Tales of the Sea. Edited by ----. Lond., 1860.
Tales for Home Reading [1865].
Tales for Young and Old, 1865.
WARD (Artemus) _pseudonym_ [CHARLES F. BROWNE, an American author
of English birth. He returned to England, and died here in 1867,
when nothing was wanting to his fame but himself. The style of the
following work, the one chiefly known in England, is inimitable.]
Artemus Ward, His Book of Goaks. _J. C. Hotten_, 1865.
Travels among the Mormons, edited by E. P. Hingston, 1865.
Artemus Ward in London, a New Comic Book. New York, 1867.
WARD (Betsy Jane) _allonym_ [ ].
Betsy J. Ward, Her Book of Goaks [Better half to Artemus] (_sic_).
Lond., _Routledge_, 1867.
WARDEN (William), Surgeon on Board the Northumberland.
Letters written on Board His Majesty’s Ship the Northumberland, and
at St. Helena, in which the conduct and conversations of Napoleon
Bonaparte and his suite during the voyage, and the first months of
his residence in that island, are faithfully described and related.
By ----. Lond., published for the Author [1816]. 8vo.
Cursory Remarks on the Article in the Edinburgh Review relative to
Mr. Warden’s Letters from St. Helena [Lond?], 1817. Signed “Waterloo.”
“... That which is best known in England are the letters of
Mr. Warden, who has been made (we will not say the innocent,
but) the ignorant tool of the cabal. Our readers will recollect
that in our review of this man’s work [xvi. 208] we ventured
to assert--1st, _that no such letters were ever written_; and
2d, that Mr. Warden only brought home with him certain notes of
conversations with Buonaparte and his followers of which the tone
and substance were made to fit, not the truth of the facts, but
the object which Buonaparte had to accomplish.
“These suspicions have been fully realized.--Mr. Warden, though
he affects in an advertisement to a new edition of his work to
take notice of our animadversions, does not venture to affirm
that such letters ever were written. He confesses indeed that he
employed a literary man to correct his work, but alleges that
this person added nothing of his own: but we repeat it, he does
not and he cannot deny that the character of letters _written
from_ St. Helena, which was intended to give authority to and
to vouch for the authenticity of his work, is false, and that
the whole foundation and substance of his apology for Buonaparte
(for such it is) was information given him by that person and his
followers, and _given by them for the purpose of publication_.
“We have been informed that when Mr. Warden had left St. Helena,
it was well known to all the French that he was carrying home
notes for publication: and that, on the arrival of a ship from
England which brought newspapers and books, Buonaparte heedlessly
asked if _Warden’s book_ was come. Unluckily, Mr. Warden’s book
was only published in London about the time when Buonaparte
asked the question, and was not known at St. Helena for six
weeks after. Whether it was by Buonaparte’s desire that Warden
gave his publication the shape in which we see it, or whether
the surgeon acted from a natural tendency to sophistication,
we cannot pretend to say,--it is enough for us to repeat, that
his book is a gross imposition; the substance of which are the
falsehoods of Las Cases and Buonaparte, and the shape of which is
the fabrication of the anonymous editor.”--_Quarterly Review_,
xvi. 486.
* Letters from the Cape of Good Hope, in reply to Mr. Warden; with
Extracts from the great work now compiling for publication under the
inspection of Napoleon. 1817; 8vo; 206.
It is just as we expected--and our readers will have been
prepared by the ninth article of our thirty-second number for
this publication. We have here another of the series of tricks
with which Buonaparte endeavours to keep himself alive in the
recollection of Europe. It is, like all the rest, fraudulent
in its title, shape, and pretensions; false in its facts; and
jacobinical in its object. But it has this claim to consideration
beyond its predecessors, that it comes from a source so nearly
connected with Buonaparte as to give it in some degree the
authority of being his _own apology made by himself_. It tells
us, indeed, little or nothing in the way of fact that is not
familiar to our readers; but it speaks in a more decisive
tone--it shows by the subjects on which it attempts its apologies
whereabout (to use a vulgar phrase) the _shoe pinches_; and it
proves by the futility of them....
We have said that the very form of this publication is
fraudulent. The author has, in this particular, closely imitated
Mr. Warden. It pretends to be a series of _Letters_: no such
letters were ever written. It is addressed to a Dear Lady C----:
the Dear Lady C---- is not in existence. It affects to be
originally written in _English_: it was written in _French_, and
the pretended original is only a translation; and to crown the
whole, the author assumes the character of an Englishman, while
in fact he is a Frenchman, and no other, we are satisfied, than
the notorious Count de las Cases, of whose veracity and honour
our readers have already had some tolerable specimens.
We shall not waste much time in explaining the _ear-marks_ by
which (in addition to their own solemn and repeated assertions
to the contrary) we recognize these Letters to be a translation
from the French. The most careful and adroit translator cannot
always escape the intrusive treachery of gallicisms: but every
page of this work abounds, with them; half a dozen out of as many
hundreds will more than suffice to convince our readers....
The facts, or rather, the falsehoods, might indeed have been put
together by Montholon, or any other of the clique; but the style
of the pamphlet, and several circumstances connected with Las
Cases, leave, as we have said, little doubt in our minds that
he is, immediately or remotely, the author of it. But, whoever
be the writer, it must be considered as coming from Buonaparte
himself; and assured, as we are, that it is derived from him, and
published, if not with his knowledge, at least in concurrence
with his wishes, we shall persist in considering it as the
_apology_ of the ex-emperor dictated by himself.
Our readers will have observed that the work is entitled “a
_Reply_ to Mr. Warden.” We find in the outset a complete
substantiation of our charges against that person....
But though this work is thus announced as a _reply_ to Mr.
Warden, our readers will smile to hear that there is hardly one
_substantial_ contradiction of his statements; in fact the book
is merely a postscript to Warden’s, repeating all his apologies
for Buonaparte, but with greater care and skill--softening down
passages which had excited indignation--strengthening points
which had been found weak--reconciling contradictions which had
been detected--supplying eulogies and panegyrics upon themselves
which had been omitted--and, in short, publishing Mr. Warden’s
letters as Buonaparte and Las Cases originally intended that they
should have been published by him.--_Quarterly Review_, 1817,
xvii. 507, _et seq._
Allowance must be made for the political bias of the reviewer.
WAUCH (Mansie) _fictitious name_ [D. M. MOIR].
The Life of Mansie Wauch, Tailor in Dalkeith, written by himself.
Edin., 1828.
“Part of this autobiography originally appeared in Blackwood’s
Magazine.”
WAVERLEY (Edward Bradwardine) _pseud._ [JOHN WILSON CROKER].
Two Letters [in reply to Malachi Malagrowther, Esq., _pseud._ q.v.].
Lond., 1826.
W. B. D. D. T., _initialism_ [TURNBULL].
Remarks on the Hussey Peerage. Edin., 1842.
W. C., _init._ [WILLIAM COWLEY?]
Don Juan Reclaimed; or his Peregrination continued from Lord Byron.
Sheffield, 1840.
W. C., _init._ [WILLIAM CHAMBERS].
Poems for Young People. Edinburgh, 1851; 16mo.
W. C. C., _init._ [WILLIAM C. COWARD].
Victoriaism; or, a Re-organisation of the People. Lond., 1843.
W. D. _pseudonym_ [RICHARD DERBY NESS].
For many years a _letterist_ in Notes and Queries (3 S. xii. 326)
under the signatures of P. H. in the early numbers, and W. D. in the
latter.
WETHERELL (Elizabeth) _pseud._ [Miss SUSAN WARNER].
The Wide Wide World. New York, 1852.
Queechy. New York, 1853. London editions also.
W. F. T., _init._ [TAYLOR].
Suitable Bathing Dresses, as used in Biarritz, with instructions,
whereby any lady (self-taught) (sic) may learn to swim. Windsor, 1864.
WHARTON (Grace) _ps._ [Mrs. KATHERINE THOMPSON].
The Wits and Beaux of Society, by Grace and Philip W. [J. C.
Thompson]. 1860.
The Queens of Society. 1860.
The Literature of Society. Lond., 1862, 2 vols.
WHATSHISNAME, _pseud._ [E. C. MASSEY].
The Green-Eyed Monster; a Christmas Lesson. Lond., _Cooke_, 1854.
He is also said to have been editor of the _Amateur_, which had
an existence of 9 months, 1855-6, eight numbers.
Cuthbert Bede, N. & Q.
WHIPEM (Benedick) _phrenonym_ [RICHARD HARRIS, Barrister-at-Law].
New Nobility; a Novel. _Newby_, 1867, 3 vols.
WHISTLECRAFT (Deuteros) Gent., _phren._ [ ].
The Origin of Rome, a poem, translated from the Italian of G. B.
Casti, 1860.
WHISTLECRAFT (Nathan), _phren._ [ ].
The Reform Ministry, &c., in verse. Lond., 1834.
WHISTLECRAFT (William and Robert, of Stow-Market, in Suffolk, Harness
and Collar Makers) _phren._ [Rt. Hon. JOHN HOOKHAM FRERE].
Prospectus and Specimen of an Intended National Work. By, etc.
Intended to comprise the most interesting particulars relating to
King Arthur and his round table. 1818.
“Doubtless suggested to Lord Byron his disreputable poem of Don
Juan.”--_Allibone._ Frequently reprinted.
WHITE (Babington) _pseudonym_: _plagiarist_.
The plagiarism committed by “Mr. B. White” is in a novel first
published in a serial form in _Belgravia_, a monthly magazine, of
which Miss Braddon is “conductor,” and Mr. Maxwell proprietor.
No sooner was “Circé” republished in the usual form by Messrs.
Ward, Lock, and Tyler, the publishers, than the press exposed the
plagiarism. The _Pall Mall Gazette_ of the 16th September, 1867, in
an article entitled “Dalila” and “Circé,” after noting that “Dalila,”
by M. Octave Feuillet, was published in 1855, gave parallel passages,
which completely proved the theft from “Dalila”:
“Even the title of the English book is due to a suggestion of M.
Feuillet: ‘Omphale, CIRCÉ Dalila! ces noms de magiciennes qui
flamboient comme des phares dans la tradition du monde, comment
ne m’ont-ils pas éclairé’? One can fancy the English author
divided between the merits of the titles ‘Omphale’ and ‘Circé,’
and ultimately deciding in favour of the shorter one; especially
as there could be little question about the method of pronouncing
it--‘Omphale’ suggesting difficulties of quantity to many. And
then the author has had the effrontery here and there to head his
chapters with garbled quotations from the French work, taking
care of course to suppress all mention of the source of his
extracts!
“The crying offence of the book, however, is its absolute
dishonesty. Its adapter is simply attempting to palm off upon
the English public as an original novel a book stolen from the
French, altered in some respects, lengthened and much maltreated
altogether, but with its origin still clearly to be traced by
those who will trouble themselves to examine into the matter.
We claim a right to protest against a proceeding so fraudulent.
In all cases of adaptation--let it be a play from a play, as
‘The Streets of London,’ from ‘Les Pauvres des Paris’--or a play
from a novel, as ‘Still Waters Run Deep,’ from ‘Le Gendre’--or a
novel from a novel, as ‘The Doctor’s Wife,’ from ‘Madame Bovary,’
and ‘Circé’ from ‘Dalila’--it is the merest justice that the
obligation to the foreign and original author should be publicly
acknowledged and formally placed upon record.”
The very severe remarks made by the _Pall Mall Gazette_ excited
much controversy.