mes et Pseudonymes.

Dictionary of Works, written in French and Latin, by anonymous and fictitious Authors. By M. Barbier. Second Edition, enlarged.

THERE are few persons who have met with a volume in a library or book-stall, either curious in itself or interesting to him in whose hands it has chanced to fall, and have not anxiously wished to discover the anonymous or fictitious author.Every writer is unwilling to quote a book while he is ignorant of the name of its author, especially as the mention of that name would give to his writings an air of erudition, which at once satisfies self-love, and adds to the confidence and pleasure of the reader.

This serves to shew that a dictionary of this kind ought to rank with those historical and biographical dictionaries so much in request, even in the most confined libraries. The Dictionary of anonymous authors informs us who is the author of any book we may wish to purchase, and by knowing that, we may find out in a good historical Dictionary the degree of esteem due to his morality, learning, or wit.

We say nothing to bibliographers and bibliopolists, because they know the names of many anonymous authors, and confess that there are many of which they are entirely ignorant, and appreciate the utility of M. Barbier's work.

It has been disputed whether it is right thus to make known an author who wishes to remain anonymous.

The late M. Millin had many scru

his Encyclopedical Annals, at least with respect to living authors. Certainly if an author had confided a secret of this nature to us, we should consider it a great fault to reveal it; but, as most anonymous authors conceal their names through modesty, or for reasons of personal convenience, it would not be necessary to impose silence on the bibliographer with respect to a name he was made acquainted with, either through the indiscretion or premeditated intention of the author himself.

There are, undoubtedly, some exceptions to be made, which a little judgment and reflection will point out; but here, as in every thing else, general interest is to be consulted, though it may be inconvenient to a few persons, for they owe this inconvenience only to themselves. When M. Barbier's book first appeared in 1806, and in the following years, it had great success and was frequently consulted. Indeed, it is now almost impossible to write upon literary history or bibliography in France without consulting it. A new edition has been long wished for, and it is now published with the alterations and additions which time and strict attention could suggest. A new arrangement and some particular circumstances have made it necessary to suppress some parts, which, perhaps, some readers may seek for in the first edition, and which will probably raise the price of it. But the additions and alterations are incomparably the most numerous and important, so that M. Barbier has good reason to say "that he presented the public rather with a new work than a new edition."

A Dictionary of anonymous au thors cannot be composed like any other bibliographical work. Indeed it is not always by trouble and enquiry that an anonymous author can be discovered. His name is often revealed by chance.

M. Barbier has been thirty years in collecting and classing materials for his work. In journals, in literary histories, in the royal and national libraries, in manuscript notes made in the author's copies or ex dono ; and particularly in the catalogue of the Abbe Gonjet's library, a valuable manuscript in the possession of M: Barbier, he discovered most of the names; others have been communicated to him by D.Chaudon, M. Bouilliot, L. Th. Herissant, M. Boulard, his nephew M. Barbier, and by M. Van Thol, a Dutchman and son of a librarian who, for a long time, had employed himself in compiling a Dictionary similar to this of M. Barbier; the publication of which, together with the advanced age of M. Van Thol, induced him to give his notes to M. Barbier, who has marked them when ever he made use of them with the initials V. T.

The second edition, like the first, is preceded by a preliminary discourse, which is republished without alteration, but with new notes.

The author first treats of the nature and object of his work, and the cause and inconvenience of neg. lecting to inquire into the names of the authors of anonymous works in the last century; then he mentions the principal works upon anonymous and fictitious authors; and the necessity of a new work to facilitate their discovery; he afterwards enumerates the principal works he has consulted, and the names of those persons to whom he was indebted for valuable information. This useful discourse is full of curious literary history. After having explained the plan and utility of M. Barbier's work, it now remains to us to glean a few facts from his numerous pages, which may inspire our readers with a wish to read the whole that they, as well as ourselves, may derive pleasure and information from it.

The works of the Baron Holbach of Diderot, Freret, Boulanger, and of all of this school and coterie, have

supplied M.Barbier with the subjects of many of his most curious articles. The history of the Encyclopedists would have been but very little known, without the assistance of our Bibliographer. In the article, Confessions du Comte de (by Duclos) there is a note in which most of the works of this academician are disputed; it terminates with the following paragraph. He (Duclos) had kept his bed for some days; he was considered as one of the unbelieving philosophical Ency clopedists. His death is not spoken of, having nothing remarkable in it. The short period of his sickness allowed him to escape from the world without noise or scandal.

The cum privilegio Regis, and the approbation of the censors, naturally attracted the attention of M. Barbier; particularly the last, whose ridicu lous reputation has passed from the library to the salon. What Frenchman does not recollect the good censor, who, having read the translation of the Coran, found nothing in it contrary to faith and good morals? Louis IV. once condescended to the office of censor, when Madame de Maintenon published her work, called L'Esprit de l'institute des filles de Saint Louis, (the ladies of Saint Cyr). The royal approbation is expressed in these singular terms.

"I have read this treatise, which perfectly explains my intentions in founding the House of St. Louis, I heartily pray to God that the ladies may never leave it. Signed Louis." A privilege equally curious, though of a different kind, was granted to Laurent Etienne Rondet, son of a printer; who, at the age of seven years and a half, performed the office of compositor in the printing of the Hebrew Grammar of Nicholas Henry.

This Dictionary also contains some political anecdotes, for what is there in which politics cannot be introduced? For example: a person named Helot, author of a book entitled L'Escole des filles, was hanged in effigy for it; copies of his book were burnt at the foot of the gallows, and the bookseller was condemned to a severe punishment. The author also mentions a young man, named Charles le Petit, who was caught

printing impious and libertine songs. He was tried and, notwithstanding powerful protection, he was really burnt at Grève, about the year 1673. Boileau makes this tragical event the subject of the following lines:

A la fin, tous ces jeux que l'atheisme èlève

Conduisent tristement le plaisant a la grève.

About a century after, in 1763, the famous Wilkes published an Essay upon women: the English ministers, Lord Halifax and Egremont, who had some reasons to hate the author, seized the work as obscene, but were condemned by the English laws to pay £4000 damages. The present laws relative to the press in France condemn to long imprison ments, and heavy pecuniary penal ties. ....

Whimsical titles, or subjects for books are now out of fashion; at the time when they were a means of suc cess, many authors distinguished themselves in this way. The following are specimens of this species of wit

"Essay upon the Natural History of some species of Monks, described in the manner of Linneus; translated from the Latin, by John Anti-monk, (Broussnet) at Monachopolis, 1784, 8vo.

"An Eulogium upon Something, dedicated to Somebody, with a Singing Preface, (by Coquelet.) Paris, 1730, in 12mo.

"An Eulogium on Nothing, dedicated to Nobody, with a post-face; third edition, little revised, not at all corrected, and augmented with several nothings (by Coquelet). Paris, 1730, in 12mo.

"An Eulogium upon Minetto Battoni, the Pope's tom-cat, (Benedict IV.) in its life time, and first soprano of its little concerts, (by Count Rivaro) Felsonte, 1795, in small 4to.

Cataracts of the Imagination, Deluge of the Scribomania, Literary: Vomitings, Encyclopedical Hemorrhage, Monster of Monsters, by Epimenides the inspired, (attributed to Massagnon, son of a grocer at Lyons.) In the Cave of Trophonius, in the Country of Visions, 1779, 4 vols..in 12mo

"Joyous Songs, given birth to by un ane anyme onissime, (by Collé)

new edition, with great changes, which still require to be changed. 1765, in 8vo.

"Songs which could not be printed, and which my censor ought not to pass over. (by Colle) 1784, in 12mo."

It would be easy to make a large collection of these books, which very often have nothing remarkable in them but the titles. For example: we had occasion to read the Cataracts of the Imagination, and can assure our readers, that this whimsical title conceals only detached pieces of literature and philosophy of very moderate quality, and which the lowest publications would be ashamed of.

We shall return to M. Barbier's work when he publishes his other volumes.

Ueber die Bildung der Egyptischen Gottheiten.

On the Egyptian Divinities, by A. Hirt.

This treatise, forming a part of the memoirs of the Academy of Berin, but which is sold separately, is very interesting. It was not till after the French expedition' into Egypt, as Mr. Hirt observes, that we could appreciate the immense variety of objects represented by the monuments of that country.

The author, already known by his researches on this subject, and particularly by a dissertation upon the construction of pyramids, is now endeavouring to discover upon the monuments, the images and characters which distinguish Egyptian divinities.

He has taken Herodotus as his guide; and, indeed, this historian is supposed to have attained to greater knowledge in Egyptian theogony than any other author; but he gives to the seventeen gods, worshipped in Egypt, greek names.

M. Hirt thus enumerates the gods and goddesses-1st. Latona (Buto.) In the monuments she is only to be recognised by her attributes. 2nd. Pan (Mendes). There is only one monument as yet discovered where he is represented with goat's-feet, as mentioned by Herodotus. 3d.

Jupiter, (Amun.) The naked parts are painted blue in a monument at Philae: which agrees with what is said by Eusebius in his Evangelical preparation. The sacred vessel of this god is often seen, from which M. Hirt infers, perhaps rashly, that the Am monians were a colony of Thebans. 4th. Vulcan (Phta) According to Herodotus the Egyptians represent him under the figure of a dwarf, and the monuments have many things similar to it. 5th. Helios (Phré): The son of Vulcan, with a falcon's head. There are a great many figures of this kind, but it is impossible they can all relate to Helios, who is often confounded with Osiris and Horus. 6th. Luna. It is difficult to distinguish her from Isis and from Bubastes. 7th. Minerva, (Neith.) We can only form conjectures upon the images which represent her; it appears that in the hieroglyphick language she is indicated by the Scarabeus. 9th. Venus, (Athyr.) The cow was consecrated to her, and there are in the temple of Tentyris images of this goddess, who must not be confounded with Isis. These are the eight original divinities; the four following may be said to form a part of their posterity. 1st. Hercules, (Chon) son of Amun. It cannot be said with certainty that his image is on the Egyptian monuments; yet it seems that he sometimes appears under the forms of a Cabire, a hero, and even as a human figure, with the head of a lion. 2nd. Mars, particalarly worshipped at Papremis. M. Hirt has recognised him in several bas-reliefs in the temple of Tentyris; this god is often covered with a lion's mask. 3rd. Anubis, represented under the form of a dog, with pointed ears and a long snout; he is often seen with other gods, but sometimes occupied in the preparation of a mummy, and still oftener employed in the Judgment of souls. 4th. Thoth. (Theut) to whom the Ibis is consecrated is represented with the head of this bird, and holds a sceptre and keys. The judgment of souls is one of his attributes. Anubis and Thoth are both called Hermes by the Greeks. After these four divinities, are five more recent. 1st. Bacchus-Osiris: he

is generally seen armed with a whip; with a hat and feathers on his head, holding keys and the Phallus. M. Hirt thinks Serapis is the same. Several monuments record his suf fferings and his reign in the in fernal regions. 2nd. Isis-Ceres, wife and sister of Osiris, and divides with him the infernal empire; as pre siding over the destinies of Egypt, she is represented sitting and holding Horus upon her kness. She has near her cow's horns, and above her head is the star Schis. 3rd. Horuse Apollo, also called Aroeris, Arveris, and Harpocrates: there are some remains of his temple at Hermonthis; he was worshipped as a child, or as a young man surrounded by divers attributes; the Augur's wand and whip belong to him, as partici pating in the judgment of the dead; sometimes he has a falcon's head, 4. Diana-Ilithaja, Bubastis: she has a temple in the city of this name; the cat is consecrated to her; she presides over births, and protects the infernal regions. 5th. Typhon the ass, the crocodile, and the Hippotamus, are consecrated to him; he has a temple at Tentyris, and is often seen united to Horus. M. Hirt has added to the end of his work several dissertations on the propogation of the Egyptian mysteries, and on objects relating to the ancient and modern civilization of the Egyptians.

Die Hymnen des Orpheus griechisch und Deutsch:

The Hymns of Orpheus, in Greek and and German. Translated into verse of the same metre as the original. By Charles Philip Dietsch. 8vo. 1822.

It has been long acknowledged as a true axiom in philology, that the poems attributed to Orpheus do not belong to that divine poet, but are the production of poets who lived after him. And it must be owned that, if in their time nature would not allow trees and rocks to quit their places, in order to follow an harmonious lyre, the songs they have left us in Orpheus's name were

not fitted to extend the empire of the marvellous at the expense of the laws which govern the world. However, we do not mean to infer that the hymns attributed to Orpheus bave no intrinsic literary value.

The collection is valuable for the study of mythology and philosophy. Written in a time when the traditions of Orpheus were believed, it has changed its form; but the foundations of the doctrines are preserved. Onomacrites, generally thought to be the author of a great part of the works of Orpheus, was contemporary with Hipparcus, who expelled him from Athens. Thus, though fictitious, the works of Orpheus are not anterior to the chefsd'oeuvres which antiquity has left us. The French language will not admit of any exact imitation of ancient compositions; the best translations give but avery imperfect idea of them. It often happens that the images of the author give place to those that the translator thinks it convenient to substitute; or, rather, he yields to the necessity of adopting others, because he cannot include in the same space a corresponding number and extent of thoughts. Hence arise circumlocutions, suppressions, and miserable sentences, which not only load the text with superfluous words, but often entirely alter the sense of the author. The poems bearing the name of Orpheus are those which present the most difficulties; and we even venture to assert that they cannot be versified,

and that a prose translation would be very unsatisfactory. The quesfion is decided, poets require poets to translate them; prose is incapable of rendering the graces of their composition, and nothing remains of those majestic songs which interest_the reader and inspire him with enthusiasm: and, what is very extraordinary, the more faithful the translation is, the more it degenerates in beauty and approximates to vulgar parody. The Germans are more happy; Homer and Virgil, Pindar and Horace may be read without knowing Greek or Latin. To these M. Dietsch has now added Orpheus; and Germany, for the first time, beholds a poetical translation of these poems. M. Dietsch has dedicated his work to that indefatigable poet, M. Voss, who has translated Homer, Virgil, Theocritus, Hesiod, and, recently, Aristophanes. Several hymns were imitated by M. Voss before M. Dietsch translated them. He found great assistance in the works of Tobler, Kosegarten, Herder, Clu dius, Follenius, and Schwenk. The Greek text agrees with that of Hermann with a few exceptions which are justified in the preface.

We remarked but few things to find fault with in the translation, though we should have admired a little more perspicuity. These faults are slight and cannot detract from the merit of a book that contains so much that is excellent; for there are some lines rendered with astonishing precision.

The Loves of the Angels. A Poem. By Thomas Moore. London. 1822. 8vo. pp. 148.

HOWEVER highly critics of eminence may speak of three or four principal poets of the present day, there is not one in whose praise they have been more unanimous and decided than in that of the author of the poem now before us, and our country can not boast a contemporary name more highly esteemed by foreigners than that of Mr. Moore. The meed of immortality may be yet more confidently anticipated by this

distinguished individual if, from the judgment of the critics, he were to consult that tribunal of the public to which many are more disposed to pay implicit obedience that to the dicta of the learned, or to the claborate disquisitions of professional writers: for there is no living author from whom a projected work is anticipated with more anxiety, and whose productions are sought after with greater avidity by readers of taste and refinement. Our critics have ventured to predict that there are but four or five of our contemporary writers whose fame will