opinion, and from the decision of the public there is no appeal to any higher tribunal, as to the merits or demerits of any literary production.

But the work now before us demands notice, as being the first decisive and spirited national attempt in this country to promote the progress of the fine arts, and to cherish the efforts of genius, which are directed to the embellishment of society. As a specimen of excellent and splendid typography this Bible may vie with any of the productions of the most celebrated European Presses.

The engravings are, in general, good, and do great credit to the respective artists; one fault, however, and that not a slight fault, pervades every engraving into which a female figure is introduced. The correct outline,-the anatomical proportion,--are, neither of them observed: but, above all, the eye is absolutely disgusted to see how miserably flat, and awkward, how hard and harsh, every artist has contrived to make that portion of the female form, which is, as Edmund Burke most emphatically and most justly observes,-the part of a beautiful woman, where she is the most beautiful; -on account of its smoothness, its softness, its easy and insensible swell, the variety of its surface, which is, never, for the smallest space, the same; its deceitful maze, through which the unsteady eye glides giddily, knowing not where to fix, or whither it is carried.

For the publication of this very splendid work, which a once combines all that is excellent in typography, with muc of elegance in the graphic art, the publishers deserve, and p doubt, will receive the applause and gratitude of the Ameican public, who are making rapid strides to rival the natins of Europe in those productions of genius, and of learnig, which cast the brightest beam of splendour over the exertons and the pursuits of intellectual man.

POEMS by Richard B. Davis, with a sketch of his life. New-York, Printed and sold by T. & J. Swords, No. 160 Pearl-Street.

TH

HE life of the author is written with ease and correctness, and tells us all that could well appertain to one,

whose life was passed in obscurity and retirement. There are a few judicious notes scattered through the book, evidently not by the hand of the poet himself.

This work consists of a collection of small poems, worthy of notice, on account of their containing nothing to offend the eye of delicacy,—of their being in general, interesting and pathetic; and sometimes humourous. To sublimity Mr. Davis lays no claim;-we cannot say of him,

"The poet's eye, in a fine phrenzy rolling,

Doth glance from heaven to earth, from earth to heaven,
And, as imagination bodies forth

The forms of things unknown, the poet's pen

Turns them to shapes, and gives to airy nothing

A local habitation, and a name."

His rhymes are frequently very carelesly assorted, as when he makes-" guardians," rhyme to radiance,—and his rythm is, not seldom, harsh and defective;—On the whole, however, this book is a valuable addition to American literature ;-its strains are moral, chaste, sentimental, tender ;-conferring honour on Columbia's infant muse ;-and inspiring us with hopes, that the majestic Hudson will be, at no distant day, as much renowned in song, and as greatly celebrated by bards of higher fame,-as are, now, the Ilissus, the Tyber and the Thames.

FOURTH SECTION.

COMMUNICATIONS.

IN pursuance of our promise, last month, we hasten, with all alacrity and cheer of spirit, to lay before the reader,-“ An Essay on Fancy," communicated to us, from a young gentleman of South Carolina. The metaphysical speculations of the youthful writer are not quite correct. If he will devote some time, and strict attention to the lucubrations of Locke, Reid, Stewart, Condillac, and some few other sages of the metaphysical school, he will discover, that "Taste" cannot be classed among the primary powers of the mind.

With this exception, and one or two other little oversights, very excusable in so young a writer, we are delighted to say, that the following essay abounds in flashes of genius, in elegant classical allusions, in nice touches of delicate and polished taste, and in accurate and profound observations upon man and nature.

We take it for granted, that the young gentleman uses the word "Fancy" as synonimous with Imagination; if not, the whole of his reasoning rests upon a false foundation, and consequently, its superstructure, being unsupported, must hasten to swift decay.

We would just remark, not to discourage, but to promote the efforts of genius, as we increase the vigour of the most luxuriant plants by pruning their superfluous shoots, that, in some places, our correspondent's style is too quaint, too superfine, and too antithetical, particularly, when he says "who does not wish, that Orpheus, who gave fame to music should be rendered immortal by the music of fame?"

These observations are founded in the true spirit of friendship; and because we wish to see the rising energies of genius reach the heights of permanent fame. We need not remind our youthful correspondent of the well known classical maxim: Amicus Socrates, amicus Plato, sed majus amica Veritas.

ON FANCY.

MAN does not behold in his Creator the only immedi

diate power of creation. He possesses within himself the power of assembling the ideas he has received, and of combining them in such variety, as to exhibit creations of his own. The fields of fiction, in which he is the fruitful source of surrounding charms, where beauty and fragrance await his command, proclaim the power of Fancy. To decorate with flowers the scenes of futurity, to obviate real misery by representations of ideal bliss, is thy pleasing task, O! Fancy, thou idol of the poets.

In its excursions this power is vigorous and sublime, in its appearance brilliant and beautiful, in its effects extensive and beneficial. The creations of fancy are not, like those of nature, subject to the winds of heaven, or the ravages of time. They live in eternal youth; they enjoy perpetual spring. In all its exertions, whether it devise theories of philosophy, or inspire the offerings of the muse; whether it be employed in arraying the objects of sight in colours more glowing and magnificent, or in forming beauties peculiarly its own, the superiority of fancy to the other mental powers is eminently conspicuous. Taste, which is conversant with the productions of the fine arts, is necessarily subsequent and inferior to that power, from which they receive life, beauty and excellence. It is easier to amend than to create; it is more difficult, and consequently more honourable to originate excellence, than merely to discover its existence. Judgment may correct, but fancy only can create; judgment may discover the propriety of arguments and theories; but these owe their existence to the invention of fancy. Fancy bears the same relation to judgment that nature bears to art; the former wanders in wild luxuriance; the latter excels in correctness and precision; the one modifies the exertions, and restrains the flights of the other. Yet is their influence mutual and co-operative. Without fancy, judgment were useless; without judgment, fancy were mad.

Anticipation is more pleasing than enjoyment, because the objects of desire are delineated by the pencil of hope, and

embellished with the colouring of fancy. Did man view objects, as they really are; did he not possess a charm that can diminish the hideousness of some, and increase the beauty of others, he would pass his life in ignorance and inactivity. Fancy is ever liberal in adorning the works of creation. She arrays them in such colours, and disposes them in such order, as to excite admiration, and enkindle love. Here she bestows beauty and grace, there majesty and grandeur. There is nothing so small that she cannot enlarge; nothing so low that she cannot exalt; nothing so dark that she cannot illumine. As the moon derives lustre from the rays of the sun, nature receives charms from the ornaments of fancy. From its influence on life, fancy is entitled to high estimation. It is the source of actions noble and illustrious ; of sentiments honourable and sublime. The authors of every thing great and beautiful in science and in art have been guided by the light of fame, a light, which the eye of reason cannot perceive, which judgment condemns, as false, and delusive. Fame is the light that fancy displays to the mariner on the ocean of experiment, to excite perseverance, and to stimulate exertion. Had reason appeared to Homer, when engaged in that work which has immortalized his name; had she said to him, you may charm the ear and captivate the affections, but your dominion will be short; fame is vain and fugitive, death is certain and immutable; soon will your pipe be tuneless and your voice unheard; had not fancy reversed the picture; had she not shown him the world, admiring his talents, and consecrating his memory; Where had been poesy? Where had been eloquence? Man, conscious that he could not be great, would acquiesce in littleness; conscious that he could not reach the haven of immortality, he would willingly glide down the stream of oblivion. If fame be not worth pursuit, if it be no more than the "baseless fabric of a vision ;" who does not wish it a real existence? Who does not wish those charms to be substantial, the desire of which produced the eloquence of Cicero and Burke, the poetry of Virgil and Milton? Who does not wish that Orpheus, who gave fame to music, should be rendered immortal by the music of fame ?