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1
Copyright © 2015 Pearson Education, Inc.
Java Software Solutions, 8e (Lewis/Loftus)
Chapter 7 Object-Oriented Design
7.1 Multiple-Choice Questions
1) During program development, software requirements specify
A) how the program will accomplish the task
B) what the task is that the program must perform
C) how to divide the task into subtasks
D) how to test the program when it is done
E) all of the above
Answer: B
Explanation: B) The specification phase is to understand the problem at hand so that the
programmer can determine what needs to be done to solve the problem. The other efforts listed
above are part of the design phase (A, C) and testing phase (D).
2) Once we have implemented the solution, we are not done with the problem because
A) the solution may not be the best (most efficient)
B) the solution may have errors and need testing and fixing before we are done
C) the solution may, at a later date, need revising to handle new specifications
D) the solution may, at a later date, need revising because of new programming language
features
E) all of the above
Answer: E
Explanation: E) A program should not be considered as a finished product until we are
reasonably assured that it is efficient and error-free. Further, it is common that programs require
modification in the future because of a change to specifications or a change to the language or
computer running the program.
3) Of the various phases in software development, which of the following is usually the
lengthiest?
A) specification
B) design
C) implementation
D) testing
E) maintenance
Answer: E
Explanation: E) The maintenance phase exists for as long as the software is in use. Software
requires modification (such as new requirements such as new features or I/O specifications) and
so the maintenance phase is on-going whereas the other phases end once the software has been
released and is in use.

2
4) A bad programming habit is to build an initial program and then spend a great deal of time
modifying the code until it is acceptable. This is known as
A) the prototyping approach
B) the waterfall model
C) iterative development
D) the recursive approach
E) the build-and-fix approach
Answer: E
Explanation: E) Programmers who do not think things through will often build a program that
does not fit the original requirements. They then spend an inordinate amount of time trying to
repair the program to more properly fit. This is known as "build-and-fix" and is a poor
programming practice.
5) The activities of the development cycle are generally thought to
A) be strictly linear
B) be rigidly ordered
C) overlap
D) have optional steps
E) both A and B are true
Answer: C
Explanation: C) A flaw of the waterfall model is that it does not permit repetition or
backtracking through the development cycle. However, phases often need revisiting resulting in
a development cycle where the development activities overlap.
6) The idea of having programmers and developers meet in order to critique a software design or
implementation is known as
A) an interview
B) a walkthrough
C) prototyping
D) aggregation
E) evolutionary development
Answer: B
Explanation: B) Such meetings are very useful so that the various members can analyze the
solution to that point in time and offer suggestions to enhance the design and implementation.
This is called a walkthrough because it involves going step-by-step through the proposed or
implemented design.

3
7) Modifying a program in order to eliminate deficiencies is done in the ________ phase of the
development cycle.
A) design
B) implementation
C) testing
D) use
E) maintenance
Answer: E
Explanation: E) While testing is used to find errors, deficiencies are more commonly identified
by the users of the system once the system has been released. After such deficiencies have been
identified, it is up to the software maintenance group to eliminate them in future versions of the
software.
8) It is easier to correct errors found in a program if
A) they are identified early in the development cycle
B) they are identified during testing
C) they are identified during program use
D) they are identified during maintenance
E) all of the above are equally true, errors are easily corrected in any of these stages
Answer: A
Explanation: A) Errors introduced early in the development cycle often cause tremendous
problems if not caught early on. Therefore, errors found in testing, use or maintenance phases
may be too embedded in the systems' design to be easily corrected. But if found early on, the
errors can be completely eliminated.
9) In general, spending more time in development to ensure better software will
A) shorten testing time
B) slightly reduce maintenance efforts
C) slightly increase maintenance efforts
D) greatly reduce maintenance efforts
E) not alter the time it takes for any other stage whatsoever
Answer: D
Explanation: D) Spending more time in development promises better software, which in turn
leads to less maintenance effort.

4
10) The idea that an object can exist separate from the executing program that creates it is called
A) transience
B) static
C) persistence
D) serialization
E) finality
Answer: C
Explanation: C) Objects are stored in memory and are reclaimed by the garbage collector when
they are no longer referenced. When a Java program terminates, no object is referenced and so
all objects are reclaimed. It is desirable, however, to be able to save any given object for future
use. This trait is called persistence, and the ability to do this is by saving the instance data of the
object to a file. This can be done by writing each instance data to a data file, but is simplified
using Object Serialization.
11) In order to create a constant, you would use which of the following Java reserved words?
A) private
B) static
C) int
D) final
E) class
Answer: D
Explanation: D) The reserved word final indicates that this is the final value that will be stored
in this variable, thus making it unchangeable, or constant. While constants can be of type int,
constants can be of any other type as well. It is the final reserved word that makes the value
unchangeable.
12) Which of the following methods is a static method? The class in which the method is
defined is given in parentheses following the method name.
A) equals (String)
B) toUpperCase (String)
C) sqrt (Math)
D) format (DecimalFormat)
E) paint (Applet)
Answer: C
Explanation: C) The Math class defines all of its methods to be static. Invoking Math methods
is done by using Math rather than a variable of type Math. The other methods above are not
static.

5
13) Static methods cannot
A) reference instance data
B) reference non-static instance data
C) reference other objects
D) invoke other static methods
E) invoke non-static methods
Answer: B
Explanation: B) A static method is a method that is part of the class itself, not an instantiated
object, and therefore the static method is shared among all instantiated objects of the class. Since
the static method is shared, it cannot access non-static instance data because all non-static
instance data are specific to instantiated objects. A static method can access static instance data
because, like the method, the instance data is shared among all objects of the class. A static
method can also access parameters passed to it.
14) An object that refers to part of itself within its own methods can use which of the following
reserved words to denote this relationship?
A) inner
B) i
C) private
D) this
E) static
Answer: D
Explanation: D) The reserved word this is used so that an object can refer to itself. For instance,
if an object has an instance data x, then this.x refers to the object's value x. While this is not
necessary, it can be useful if a local variable or parameter is named the same as an instance data.
The reserved word this is also used to refer to the class as a whole, for instance, if the class is
going to implement an interface class rather than import an implementation of an interface class.
15) An example of an aggregation relationship is
A) parent and child
B) animal and dog
C) teacher and computer
D) phone and fax machine
E) all of the above
Answer: C
Explanation: C) An aggregate relationship describes how one object accomplishes a task by
using another object. In the above list, the teacher uses the computer. The relationship in A is
one of lineage (possibly ownership), in B is an is-a relationship as a dog is a child class of
animal, and in D is one of similarity, phone and fax machine might be thought of as sibling
classes, related to each other in that they are both children of a more general communication
class.

6
16) Inheritance through an extended (derived) class supports which of the following concepts?
A) interfaces
B) modulary
C) information hiding
D) code reuse
E) correctness
Answer: D
Explanation: D) By extending a class and inheriting from it, the new class does not have to
reimplement any of those inherited methods or instance data, thus saving the programmer an
effort. So, code reuse is the ability to reuse someone else's code for your benefit by extending it
for your need.
17) Java does not support multiple inheritance, but some of the abilities of multiple inheritance
are available by
A) importing classes
B) implementing interfaces
C) overriding parent class methods
D) creating aliases
E) using public rather than protected or private modifiers
Answer: B
Explanation: B) Since a class can implement any number of interfaces, that class is in essence
using the interface classes as if those interfaces were defined in this class. So, this class is
inheriting the methods and constants of the interfaces. Further, the class could extend another
class and thus inherit directly and indirectly from multiple classes. This is not the exact same as
multiple inheritance, but it is as close as Java comes to that concept.
18) Abstract methods are used when defining
A) interface classes
B) derived classes
C) classes that have no constructor
D) arrays
E) classes that have no methods
Answer: A
Explanation: A) An interface is a class that has defined some of its components, but leaves other
components (methods) for you to implement. So, these components (methods) are referred to as
abstract and defined in the interface class as abstract.

7
19) Which of the following is not a method of the Object class?
A) clone
B) compareTo
C) equals
D) toString
E) all of the above are methods of the Object class
Answer: B
Explanation: B) The Object class defines clone to create a copy of any object, equals to
determine if two objects are the same object, and toString to translate an Object into a String.
However, compareTo is not implement by Object and must be explicitly implemented in any
class that wants to implement the Comparable interface.
20) Which of the following interfaces would be used to implement a class that represents a group
(or collection) of objects?
A) Iterator
B) Speaker
C) Comparable
D) MouseListener
E) KeyListener
Answer: A
Explanation: A) Iterator is an abstract class allowing the user to extend a given class that
implements Iterator by using the features defined there. These features include being able to
store a group of objects and iterate (step) through them.
21) In order to implement Comparable in a class, what method(s) must be defined in that class?
A) equals
B) compares
C) both lessThan and greaterThan
D) compareTo
E) both compares and equals
Answer: D
Explanation: D) The Comparable class requires the definition of a compareTo method that will
compare two objects and determine if one is equal to the other, or if one is less than or greater
than the other and respond with a negative int, 0 or a positive int. Since compareTo responds
with 0 if the two objects are equal, there is no need to also define an equals method.
For the questions below, consider a class called ChessPiece. This class has two instance data,
String type and int player. The variable type will store "King", "Queen", "Bishop", etc and the
int player will store 0 or 1 depending on whose piece it is. We wish to implement Comparable
for the ChessPiece class. Assume that, the current ChessPiece is compared to a ChessPiece
passed as a parameter. Pieces are ordered as follows: "Pawn" is a lesser piece to a "Knight"
and a "Bishop", "Knight" and "Bishop" are equivalent for this example, both are lesser pieces to
a "Rook" which is a lesser piece to a "Queen" which is a lesser piece to a "King."

8
22) Which of the following method headers would properly define the method needed to make
this class Comparable?
A) public boolean comparable(Object cp)
B) public int comparable(Object cp)
C) public int compareTo(Object cp)
D) public int compareTo( )
E) public boolean compareTo(Object cp)
Answer: C
Explanation: C) To implement Comparable, you must implement a method called compareTo
which returns an int. Further, since this class will compare this ChessPiece to another, we would
except the other ChessPiece to be passed in as a parameter (although compareTo is defined to
accept an Object, not a ChessPiece).
23) Which of the following pieces of logic could be used in the method that implements
Comparable? Assume that the method is passed Object a, which is really a ChessPiece. Also
assume that ChessPiece has a method called returnType which returns the type of the given
piece. Only one of these answers has correct logic.
A) if (this.type < a.returnType( )) return -1;
B) if (this.type = = a.returnType( )) return 0;
C) if (this.type.equals(a.returnType( )) return 0;
D) if (a.returnType( ).equals("King")) return -1;
E) if (a.returnType( ).equals("Pawn")) return 1;
Answer: C
Explanation: C) If the type of this piece and of a are the same type, then they are considered
equal and the method should return 0 to indicate this. Note that this does not cover the case
where this piece is a "Knight" and a is a "Bishop", so additional code would be required for the
"equal to" case. The answer in B is not correct because it compares two Strings to see if they are
the same String, not the same value. The logic in D and E are incorrect because neither of these
takes into account what the current piece is, only what the parameter's type is. In D, if a is a
"King", it will be greater than this piece if this piece is not a "King", but will be equal if this
piece is a "King" and similarly in E, it does not consider if this piece is a "Pawn" or not. Finally,
A would give a syntax error because two Strings cannot be compared using the "<" operator.
24) Which of the following would not be considered an algorithm?
A) a recipe
B) a computer program
C) pseudocode
D) a shopping list
E) travel directions
Answer: D
Explanation: D) An algorithm is a step-by-step description of how to solve a problem, written at
some level of specificity. The recipe and probably the pseudocode are written at a "high level"
whereas a program and perhaps travel directions are written in more detail. A shopping list is
not a step-by-step description, so it would not qualify as an algorithm.

9
25) It is important to dissect a problem into manageable pieces before trying to solve the problem
because
A) most problems are too complex to be solved as a single, large activity
B) most problems are solved by multiple people and it is easy to assign each piece to a separate
person
C) it is easier to integrate small pieces of a program into one program than it is to integrate one
big chunk of code into one program
D) our first solution may not solve the problem correctly
E) all of the above
Answer: A
Explanation: A) Any interesting problem will be too complex to solve easily as a single activity.
By decomposing the problem, we can build small solutions to each piece and then integrate the
pieces. Answer D is true, but does is not the reason why we will break a problem down into
pieces.
26) Having multiple class methods of the same name where each method has a different number
of or type of parameters is known as
A) encapsulation
B) information hiding
C) tokenizing
D) importing
E) method overloading
Answer: E
Explanation: E) When methods share the same name, they are said to be overloaded. The
number and type of parameters passed in the message provides the information by which the
proper method is called.
27) The goal of testing is to
A) ensure that the software has no errors
B) find syntax errors
C) find logical and run-time errors
D) evaluate how well the software meets the original requirements
E) give out-of-work programmers something to do
Answer: C
Explanation: C) Testing is required because all software will have errors. Complex systems
especially need testing before they can be released. The types of errors sought are logical errors
and run-time errors. All syntax errors will have been identified and fixed during implementation.

10
28) Arranging components in a GUI container is accomplished by using which of the following?
A) Layout manager
B) Listener interface
C) String array
D) Event generator
E) JComboBox
Answer: A
Explanation: A) There are several classes of Layout managers. A Layout manager is used to
add GUI components to the container in some manner. The type of Layout manager determines
how items are added.
29) Which Layout Manager type would you use if you want GUI components to be placed at the
North, South, East, West and Center of the container?
A) FlowLayout
B) BorderLayout
C) BoxLayout
D) GridLayout
E) TabbedPane
Answer: B
Explanation: B) The BorderLayout specifically allows you to specify the component's location
as one of NORTH, SOUTH, EAST, WEST or CENTER where the value (e.g., NORTH) is a
constant predefined in the class.
30) Which Layout Manager type would you use if you want GUI components to be placed in 2
columns over 5 rows?
A) FlowLayout
B) BorderLayout
C) BoxLayout
D) GridLayout
E) TabbedPane
Answer: D
Explanation: D) The GridLayout manager allows you to specify the number of rows and
columns and then add elements across the column on one row until it is filled, and then on to the
next row, until all of the rows are filled.
31) Which Layout Manager is used by default if you do not specify a Layout Manager for your
GUI container?
A) FlowLayout
B) BorderLayout
C) BoxLayout
D) GridLayout
E) TabbedPane
Answer: A
Explanation: A) The FlowLayout is the default manager. It places GUI items across in one row
only. Other Layout Managers are more sophisticated and lead to better designed containers.
32) Which of the following GUI classes requires that it have a LayoutManager before any GUI

11
components are added to it?
A) JButton
B) JSlider
C) JPanel
D) JFrame
E) both C and D but not A or B
Answer: C
Explanation: C) The JPanel requires adding a LayoutManager to it before any components are
added to it. This allows the components added to be arranged on the JPanel as desired. Neither
the JButton nor JSlider have components added to them and so do not require a LayoutManager.
The JFrame does not use a LayoutManager but instead adds elements through getContentPane( ).
33) In using the BoxLayout, adding space between components in a container can be
accomplished by
A) including TabbedPanes
B) including JButtons that have no names and thus will appear invisible
C) adding invisible components
D) inserting IconImages of blank images
E) any of the above
Answer: C
Explanation: C) The BoxLayout manager allows for the inclusion of specially designated
"invisible" components to take up space between real components and thus provide spacing.
34) In order to display three components vertically in a container, you could use all but which of
the following layout managers?
A) FlowLayout
B) BoxLayout
C) GridLayout
D) BorderLayout
E) you could use any of the above
Answer: A
Explanation: A) FlowLayout puts components horizontally and you cannot change that.
BoxLayout can place items horizontally or vertically. GridLayout allows you to specify the
number of rows and columns and to place the three components vertically, you would use (3, 1)
that is, 3 rows, 1 column. BorderLayout can place three components vertically by placing them
in the NORTH, CENTER and SOUTH positions.

12
35) What is wrong with the following message to create a BoxLayout for the JPanel jp?
jp.setLayout(new BoxLayout(BoxLayout.X_AXIS));
A) X_AXIS is not a valid constant for BoxLayout, it should instead be HORIZONTAL
B) Aside from X_AXIS, the constructor also requires a Dimension to determine the size of the
Box
C) Aside from X_AXIS, the constructor also needs a command regarding horizontal glue as in
createHorizontalGlue( )
D) The BoxLayout constructor is lacking a reference to the container that the BoxLayout
manager will govern
E) There is nothing wrong with it at all
Answer: D
Explanation: D) The BoxLayout manager constructor requires two parameters, a reference to the
container that the manager will govern, and an axis for the layout, (vertical or horizontal) as
specified by either X_AXIS or Y_AXIS.
36) In which phase of program development would you expect the programmer(s) to create the
pseudocode?
A) Software requirements
B) Software design
C) Software implementation
D) Software testing
E) Could occur in any of the above
Answer: B
Explanation: B) Pseudocode is a description of an algorithm written in an English-like way
rather than in a specific programming language. This is part of the program's design. In the
implementation phase, the programmer(s) translates the pseudocode into the programming
language being used.
37) Which of the following is considered a top-level container?
A) Panel
B) Frame
C) Box
D) Layout Manager
E) A, B, and C
Answer: B
Explanation: B) While the answers in A, B and C are all types of containers, the Box and Panel
are made available to contain other components and are themselves placed into other containers.
The Frame is a top-level container because a Frame will not store other Frames, but instead, the
Frame contains Panels which can contain Boxes, Panels and other components.

13
38) The JFrame below has a JBorder created using which of the following BorderFactory
formats?
A) TitledBorder
B) MatteBorder
C) EtchedBorder
D) RaisedBevelBorder
E) LoweredBevelBorder
Answer: D
Explanation: D) The JFrame has a Bevel border which is raised. A TitledBorder has a title
running along the top of it. The MatteBorder is of a Color or contains an image of some kind.
The EtchedBorder is not raised, and the LoweredBevelBorder is lowered, not raised.
39) To take 2 borders and use one as an outer border and the other as an inner border, you would
create a
A) compound border
B) nested border
C) split border
D) border factory
E) matte border
Answer: A
Explanation: A) The compound border comprises two borders that are combined together, one
border being the outside border and the other being the inside border.
40) In which phase of program development would you expect the programmer(s) to determine
the classes and objects needed?
A) software requirements
B) software design
C) software implementation
D) software testing
E) could occur in any of the above
Answer: B
Explanation: B) Determining which classes and objects to use or create is part of the design.

14
41) If a programmer follows the four phases of program development as intended, which of the
four phases should require the least amount of creativity?
A) software requirements
B) software design
C) software implementation
D) software testing
E) none of the above, all four levels would require equal creativity
Answer: C
Explanation: C) Once the implementation phase has been reached, the algorithm should have
already been specified, so the only effort involved in the implementation phase is of translating
from the design (which is probably in an English-like pseudocode) to the programming language,
and entering the code through an editor. The requirements and design phases require
understanding the problem and coming up with a solution respectively, requiring creativity, and
the testing phase will require diagnostic abilities usually forcing the programmer(s) to be creative
in how the errors are found and fixed.
7.2 True/False Questions
1) The most important decisions regarding the development of a system are made during the
implementation phase while code is actively being written.
Answer: FALSE
Explanation: All of the important decisions should be made during earlier phases of
development, particularly during the design phase. By the time the implementation phase is
reached, the entire system design should be available and this phase should only entail
translating the design into code.
2) Unlike the String class where you must pass a message to an object (instance) of the class, as
in x.length( ), in order to use the Math class, you pass messages directly to the class name, as in
Math.abs( ) or Math.sqrt( ).
Answer: TRUE
Explanation: The Math class uses methods known as static methods (or class methods) which
are invoked by passing a message directly to the class name itself rather than to an object of the
class.
3) Assume that the class Bird has a static method fly( ). If b is a Bird, then to invoke fly, you
could do Bird.fly( );.
Answer: TRUE
Explanation: Static methods are invoked through the class and not an object of the class. This is
because the static method is shared among all instances. So, Bird.fly( ); will invoke fly. It
should be noted that fly can also be invoked through b, so b.fly( ); will also work.
4) Interface classes cannot be extended but classes that implement interfaces can be extended.
Answer: FALSE
Explanation: Any class can be extended whether it is an interface, implements an interface, or
neither. The only exception to this is if the class is explicitly modified with the word "final" in
which case it cannot be extended.

15
5) If classes C1 and C2 both implement an interface Cint, which has a method whichIsIt, and if
C1 c = new C1( ); is performed at one point of the program, then a later instruction c.whichIsIt(
); will invoke the whichIsIt method defined in C1.
Answer: FALSE
Explanation: Because C1 and C2 implement the same interface, they both implement whichIsIt.
The variable c is known as a polymorphic variable, meaning that it can change from being an C1
to a C2. So, the message c.whichIsIt( ); may invoke C1's whichIsIt or C2's whichIsIt. There is
no way to tell until run-time.
6) Any class can implement an interface, but no classes can implement more than a single
interface.
Answer: FALSE
Explanation: Classes can implement any number of interfaces, 0, 1, or more.
7) All objects implement Comparable.
Answer: FALSE
Explanation: Comparable is an interface, and the class must define the compareTo method and
explicitly state that it implements Comparable to be considered an implementation of
Comparable. Most classes do not implement Comparable.
8) Formal parameters are those that appear in the method call and actual parameters are those
that appear in the method header.
Answer: FALSE
Explanation: The question has the two definitions reversed. Formal parameters are those that
appear in the method header, actual parameters are the parameters in the method call (those
being passed to the method).
9) Defining formal parameters requires including each parameters type.
Answer: TRUE
Explanation: In order for the compiler to check to see if a method call is correct, the compiler
needs to know the types for the parameters being passed. Therefore, all formal parameters (those
defined in the method header) must include their type. This is one element that makes Java a
Strongly Typed language.
10) It is not possible to test out any single method or class of a system until the entire system has
been developed, and so all testing is postponed until after the implementation phase.
Answer: FALSE
Explanation: While it is true that testing occurs after implementation, some testing can take
place during implementation. In Java, it is possible to test out single methods or classes by
creating stubs of other methods and classes that are simple placeholders. For instance, if one
method calls another method and the second method is not yet written, a stub of the second
method can be written that simply returns a value that would normally be expected so that the
first method can be tested.

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Like springtide's sweetest gleam;
And I played with thee, without thought of gloom,
Or of startling "Love's young dream."
'Twas the last glad hour of my mirthful youth—
My parting hour with thee—
And of thy sweet smile of light and truth,
'Twas the last I'll ever see.
Since, many a care-cloud of dark'ning blight
Hath shaded my youthful brow;
And many a sorrow of deadly weight,
Lies cold on my bosom now.
I've tested the falsehood of life's whole scope,
And heed not the clouds that lower;
But, mid all the wrecks of my early hope,
I cling to that parting hour.
Oft, from the dance, and its wild delight,
The world, and its hollow glee,
I've fled to the silence of moonlit night,

To live o'er that hour with thee.
'Tis the one bright spot in this wide, wide waste,
That blooms in its beauty yet;
And to that I'll turn, while life shall last,
From the world's whole love and hate.
Augusta, Ga.
For the Southern Literary Messenger.
CANTILENA AMATORIA.
BY GILES McQUIGGIN.
Not love thee, Lelia! ask the rocks
That gird the mountain stream;
Whereon I've knelt and notch'd thy name,
By Cynthia's borrowed beam.
Not love thee! ask the moss that spreads
From Wye-head to the tide,
How oft I've roved at midnight's noon,
And thought of thee and sigh'd.
The ravine winding through the wood,
The terrace walk, the grove,
Are all the faithful witnesses
Of my enduring love.
Night's latest star can tell the times
I've watch'd it as it rose,
When none but it, lone wanderer,

Was watcher of my woes.
Pale Cynthia! how I've gaz'd on thee,
And thought of her whose frown
To sorrow's deepest ecstasy
Had borne my spirit down.
Her doubt is worse than death to one
Whose all of earthly bliss
Is in the smile that gives her love
In sweet return for his.
Not love thee, Lelia! witness Heaven,
How oft before thy throne,
I've bent in humble attitude,
To worship thee alone;
And her dear image intervened
Between my thoughts and thee:
Forgive the sin, her sacred form
Seemed dear as thou to me.
Not love thee! when the life-blood chills
That warms my system now—
And to the monster's mandate all
My body's powers must bow,—
Then Lelia thou shalt just begin
A holier love to share;
And if there are blest homes on high,
We'll meet and feel it there.

CRITICAL NOTICES.
Mephistopheles in England, or the Confessions of a Prime Minister, 2
vols. Philadelphia: Carey, Lea & Blanchard. In a long poetical
dedication this book is inscribed "to the immortal spirit of the
illustrious Goethe"—and the design, title, and machinery are
borrowed from the Faust of that writer. The author, whoever he may
be, is a man of talent, of fine poetical taste, and much general
erudition. But nothing less than the vitiated state of public feeling in
England could have induced him to lavish those great powers upon a
work of this nature. It abounds with the coarsest and most
malignant satire, at the same time evincing less of the power than of
the will for causticity—and being frequently most feeble when it
attempts to be the most severe. In this point it resembles the
English Bards and Scotch Reviewers. The most glaring defect,
however, in the structure of the book is its utter want of keeping. It
appears, moreover, to have no just object or end—unless indeed we
choose to consider that its object which is the object of the hero
proper himself—"the hell-doomed son of Sin and Death
Mephistopheles"—to cherish and foster the malice, the heart-
burnings, and all evil propensities of our nature. The work must,
therefore, as a whole be condemned, notwithstanding the rare
qualities which have been brought to its composition. To prove that
these qualities exist in a very high degree in the writer of
Mephistopheles, it would only be necessary to spread before our
readers the scene of the Incantation in the Hartz. It is replete with
imagination of the most etherial kind—is written with a glow and
melody of language altogether inimitable—and bears upon every
sentence the impress of genius. It will be found a seasonable relief
from the mingled coxcombry, pedantry, and gall which make up the
body of the book. But we will confine ourselves at present to an
extract of a far different nature, as affording a better exemplification
of what we have previously said.

"Between the acts the curtain rose for a divertisement, in which the incomparable
Taglioni made her appearance. She was greeted with the loudest demonstrations of
popularity from her numerous patrons, which she acknowledged by several graceful
courtesies. 'Behold!' said Mephistopheles, directing my attention to the evolutions of
the dancer, 'the progress of civilization. If all this were not so graceful it would be
indecent, and that such an exhibition has a moral tendency is more than doubtful.
Look at that young girl in the pit. She has seen sufficient to crimson her face, neck,
and shoulders with a blush of shame, and she hides her head from a sight which has
shocked her sense of decency. There is no affectation there. She is an innocent girl
fresh from the country who never saw a ballet in her life. Yet all the rest, man,
woman and child, gaze on delighted. Every glass is raised the more closely to watch
the motions of the figurante. Look!—she makes a succession of vaults, and her scanty
drapery flying above her hips discloses to her enraptured admirers the beauty of her
limbs. A thousand hands beat each other in approbation. Now she pirouettes, and
observe the tumult of applause which follows. She stands on her left foot, on the
point of her great toe nail, extending her right leg until the top of her foot is in a
parallel line with the crown of her head. In this position she bends with an
appearance of the greatest ease, till her body nearly touches the ground, and then
gradually rises with the same infinite grace amid enthusiastic bravos and ecstatic
applause. Now on her tip-toe, her right leg still extended, she moves slowly round,
liberally extending to all her patrons within sight the most favorable opportunity of
scrutinizing the graces of her figure, while the whole house testify their infinite
gratification at the sight by every species of applause. Again she comes from the back
of the stage, turning round and round with the speed of a tetotum but with an
indescribable and fascinating grace that seems to turn the head of every young man
in the theatre. During the storm of approbation which ensues she stands near the
footlights, smiling, courtseying, and looking as modest as an angel. Then comes
Perrot, who is as much the idol of the ladies as Taglioni is the goddess of the
gentlemen. He leaps about as if his feet were made of India rubber, and spins around
as if he intended to bore a hole with his toe in the floor of the stage. Then a little
pantomime love business takes place between the danseur and the danseuse, and
they twirl away, and glide along, and hold eloquent discourse with their pliant limbs;
and the affair ends by the gentleman clasping the lady round the waist, while he,
bending his body in the most graceful attitude, so that his head shall come under her
left arm, looks up in apparent ecstacy into her smiling face as the lady raised high
above him on the extreme point of her left foot, extends her right hand at right

angles with her body, and looks down admiringly upon her companion. Thus grouped
the curtain drops, and every one cries bravo! thumps the floor with his stick, or beats
his palms together till such a din is raised as is absolutely deafening.'
"'She is a charming dancer,' I observed.
"'Yes'—replied he—'she understands the philosophy of her art better than any of her
contemporaries; it is to throw around sensuality such a coloring of refinement as will
divest it of its grossness. For this she is paid a hundred pounds a night, and is
allowed two benefits in the season which generally average a thousand pounds each.
While you are thus liberal to a dancer, some of the worthiest of your ministers of
religion receive about fifty pounds per annum for wearing out their lives for the good
of your souls; and many of your most exalted men of genius are left to starve. Such
is the consistency of human nature.'"
The District School, or National Education, by J. Orville Taylor. Third
Edition. Philadelphia: Carey, Lea & Blanchard. This work has met
with universal approbation, and is worthy of it. The book was first
published only a short time ago, and the third impression will
speedily be exhausted, as parents have a direct personal concern in
the matter, and in the important truths, duties, and responsibilities,
herein pointed out. Mr. Taylor is entitled to the gratitude of his
countrymen for that beneficial impulse which his work has been, and
will be the means of giving to the great cause of General Education.
"If a parent," says Mr. Taylor, "does not educate his child—the world
will." We sincerely hope so. As the District School now appears it has
been entirely re-written, and such alterations and additions made as
the experience of the author suggested. We heartily wish it all the
success it so eminently deserves.

The New England Magazine for September is unusually rich. Among
its numerous and very excellent articles we would particularly notice
a paper called "My Journal"—and more especially Scraps of
Philosophy and Criticism from a recent work of Victor Hugo's. One of
these Scraps on Style, we are sure we shall be pardoned for
extracting.
"If the name here inscribed were a name of note—if the voice which speaks here
were a voice of power—we would entreat the young and brilliant talents on which
depends the future lot of a literature for three ages so magnificent to reflect how
important is their mission, and to preserve in their manner of writing the most worthy
and severe habitudes. The Future—let them think well of it—belongs only to the
masters of style. Without referring to the admirable works of antiquity, and confining
ourselves to our National Literature, try to take from the thought of our great writers
the expression which is peculiar to it. Take from Moliere his lively, ardent, frank, and
amusing verse, so well made, so well turned, so well finished—take from Lafontaine
the simple and honest perfection of detail—take from the phrase of Corneille the
vigorous muscle, the strong cords, the beautiful forms of exaggerated vigor, which
would have made of the old poet half Roman, half Spanish, the Michael Angelo of our
tragedy if the elements of genius had mingled as much fancy as thought—take from
Racine that touch in his style which resembles Raphael, a touch chaste, harmonious,
and repressed like that of Raphael, although of an inferior power—quite as pure but
less grand, as perfect though less sublime—take from Fenelon, the man of his age
who had the best sentiment of antiquity, that prose as melodious and severe as the
verse of Racine of which it is the sister—take from Bossuet the magnificent bearing of
his periods—take from Boileau his grave and sober manner at times so admirably
colored—take from Pascal that original and mathematical style with so much
appropriateness in the choice of words, and so much logic in every metaphor—take
from Voltaire that clear, solid, and indestructible prose, that crystal prose of Candide,
and the Philosophical Dictionary—take from all these great writers that simple
attraction—style: and of Voltaire, of Pascal, of Boileau, of Bossuet, of Fenelon, of
Racine, of Corneille, of Lafontaine, of Moliere—of all these masters what will remain?
It is style which insures duration to the work, and fame to the poet. Beauty of

expression embellishes beauty of thought, and preserves it. It is at the same time an
ornament and an armor. Style to the idea is like enamel to the tooth."
The Western Journal of the Medical and Physical Sciences, edited by
Daniel Drake, M.D. Professor of the Theory and Practice of Medicine
in Cincinnati College, and formerly Professor of the same in
Transylvania University, and the Jefferson Medical College. Doctors
C. R. Cooper and S. Reed, Assistant Editors and Proprietors. Vol. IX,
No. 33. We have received this Journal with the greatest pleasure,
and avail ourselves of the present opportunity to express our opinion
concerning it. It is an invaluable addition to our Medical and
Scientific Literature, and at the same time one of the very cheapest
publications in the country, each number containing 168 pages of
closely printed matter, and the subscription price being only $3 per
annum. The work is issued on the first day of July, October, January,
and April, and has lately been incorporated with the Western Medical
Gazette. We sincerely wish the publication every possible success—
for it is well worthy of it. Its typographical and mechanical execution
altogether are highly creditable to Cincinnati, and the able and well
known collaborators, a list of whose names is upon the opening
page of each number, and whose editorial offices are engaged in the
service of the Journal, will not fail to impart a sterling character and
value to the Medical, as well as purely Literary portions of the work.
We take the liberty of extracting from page 79, of the present
number, (that for July) an interesting account of a cure of partial
spontaneous combustion, occurring in the person of Professor H. of
the University of Nashville. The portion extracted is contained in a
Review of An Essay on Spontaneous Combustion, read before the
Medical Society in the State of Tennessee, at their annual meeting in
May 1835. By James Overton, M.D.

"Prof. H., of the University of Nashville, is a gentleman 35 years old, of middle size,
light hair, hazle eyes, and sanguinolymphatic temperament; he has been extremely
temperate as to alcoholic stimulation of every kind; led a sedentary and studious life;
and been subject to a great variety of dyspeptic affections. On the 5th of January,
1835, he left his recitation room at 11 o'clock, A. M., and walked briskly, with his
surtout buttoned round him, to his residence, three quarters of a mile. The
thermometer was at 8°, and the barometer at 29.248—the sky clear and calm. On
reaching home he engaged in meteorological observations, and in 30 minutes, while
in the open air about to record the direction of the winds—
"'He felt a pain as if produced by the pulling of a hair, on the left leg, and which
amounted in degree to a strong sensation. Upon applying his hand to the spot
pained, the sensation suddenly increased, till it amounted in intensity to a feeling
resembling the continued sting of a wasp or hornet. He then began to slap the part
by repeated strokes with the open hand, during which time the pain continued to
increase in intensity, so that he was forced to cry out from the severity of his
suffering. Directing his eyes at this moment to the suffering part, he distinctly saw a
light flame of the extent, at its base, of a ten cent piece of coin, and having a
complexion which nearest resembles that of pure quicksilver. Of the accuracy in this
latter feature in the appearance of the flame, Mr. H. is very confident,
notwithstanding the unfavorable circumstances amidst which the observation must
have been made. As soon as he perceived the flame, he applied over it both his
hands open, united at their edges, and closely impacted upon and around the burning
surface. These means were employed by Mr. H. for the purpose of extinguishing the
flame by the exclusion of the contact of the atmosphere, which he knew was
necessary to the continuance of every combustion. The result was in conformity with
the design, for the flame immediately went out. As soon as the flame was
extinguished, the pain began to abate in intensity, but still continued, and gave the
sensation usually the effect of a slight application of heat or fire to the body, which
induced him to seize his pantaloons with one of his hands and to pinch them up into
a conical form over the injured part of the leg, thereby to remove them from any
contact with the skin below. This operation was continued for a minute or two, with a
design of extinguishing any combustion which might be present in the substance of
his apparel, but which was not visible at the time. At the beginning of the accident,
the sensation of injury was confined to a spot of small diameter, and in its progress
the pain was still restricted to this spot, increasing in intensity and depth to a

considerable extent, but without much if any enlargement of the surface which it
occupied at the beginning. A warmth was felt to a considerable distance around the
spot primarily affected, but the sensation did not by any means amount in degree to
the feeling of pain. This latter sensation was almost, if not entirely confined to the
narrow limits which bounded the seat of the first attack, and this sensation was no
otherwise modified during the progress of the accident, than by its increasing
intensity and deeper penetration into the muscles of the limb, which at its greatest
degree seemed to sink an inch or more into the substance of the leg.
"'Believing the combustion to have been extinguished by the means just noticed, and
the pain having greatly subsided, leaving only the feeling usually the effect of a slight
burn, he untied and pulled up his pantaloons and drawers, for the purpose of
ascertaining the condition of the part which had been the seat of his suffering. He
found a surface on the outer and upper part of the left leg, reaching from the femoral
end of the fibula in an oblique direction, towards the upper portion of the
grastrochnemi muscles, about three-fourths of an inch in width, and three inches in
length, denuded of the scarfskin, and this membrane gathered into a roll at the lower
edge of the abraded surface. The injury resembled very exactly in appearance an
abrasion of the skin of like extent and depth, often the effect of slight mechanical
violence, except that the surface of it was extremely dry, and had a complexion more
livid than that of wounds of a similar extent produced by the action of mechanical
causes.' pp. 25-26.
"His drawers, composed of silk and wool, immediately over the abraded skin, were
burnt entirely through, but the scorching had not extended in the slightest degree
beyond. The pantaloons, made of broadcloth, were uninjured; but over the affected
spot, the extremities of the wool were tinged with a kind of dark, yellowish matter,
which could be easily scraped off with a knife.
"'Considering the injury not to be of a serious character, Mr. H. bestowed upon its
treatment no particular care or attention, but pursued his usual avocations within
doors and in the open air, which was very cold, until the evening of the succeeding
day. At this time the wound became inflamed and painful, and was dressed with a
salve, into the composition of which the rosin of turpentine entered in considerable
proportion. This treatment was continued for four or five days, during which time the
wound presented the usual aspect of a burn from ordinary causes, except in its

greater depth and more tardy progress towards cicatrization, which did not take place
till after thirty-two days from the date of the infliction of the injury. The part of the
ulcer which healed last was the point of inception and intensity of the pain at the time
of attack, and which point was evidently the seat of deeper injury than any other
portion of the wounded surface. About the fifth day after the accident, a physician
was requested to take charge of the treatment, and the remedies employed were
such chiefly, as are usual in the treatment of burns from other causes, except that
twice a week the surface of the ulcer was sprinkled over with calomel, and a dressing
of simple cerate applied above it. In the space between the wound and the groin
there was a considerable soreness of the integuments to the touch, which continued
during the greatest violence of the effects of the accident, and then gradually
subsided. The cicatrix is at this time, March 24th, entire; but the surface is unusually
scabrous, and has a much more livid aspect than that of similar scars left after the
infliction of burns from common causes. The dermis seemed to have been less
perfectly regenerated than is usual from burns produced by ordinary means, and the
circulation through the part is manifestly impeded, apparently in consequence of
atony of its vessels, to an extent far beyond any thing of a similar nature to be
observed after common burns.'" pp. 27-28.
The Classical Family Library. Numbers XV, XVI, and XVII. Euripides
translated by the Reverend R. Potter, Prebendary of Norwich. Harper
& Brothers, New York. These three volumes embrace the whole of
Euripides—Æschylus and Sophocles having already been published in
the Library. A hasty glance at the work will not enable us to speak
positively in regard to the value of these translations. The name of
Potter, however, is one of high authority, and we have no reason to
suspect that he has not executed his task as well as any man living
could have done it. But that these, or that any poetic versions can
convey to the mind of the merely general reader the most remote
conception of either the manner, the spirit, or the meaning of the
Greek dramatists, is what Mr. Potter does not intend us to believe,
and what we certainly should not believe if he did. At all events, it

must be a subject of general congratulation, that in the present day,
for a sum little exceeding three dollars, any lover of the classics may
possess himself of complete versions of the three greatest among
the ancient Greek writers of tragedy.
Ardent admirers of Hellenic Literature, we have still no passion for
Euripides. Truly great when compared with many of the moderns, he
falls immeasurably below his immediate predecessors. "He is
admirable," says a German critic, "where the object calls chiefly for
emotion, and requires the display of no higher qualities; and he is
still more so where pathos and moral beauty are united. Few of his
pieces are without particular passages of the most overpowering
beauty. It is by no means my intention to deny him the possession of
the most astonishing talents: I have only stated that these talents
were not united with a mind in which the austerity of moral
principle, and the sanctity of religious feelings were held in the
highest honor."
The life, essence, and characteristic qualities of the ancient Greek
drama may be found in three things. First, in the ruling idea of
Destiny or Fate. Secondly, in the Chorus. Thirdly, in Ideality. But in
Euripides we behold only the decline and fall of that drama, and the
three prevailing features we have mentioned are in him barely
distinguishable, or to be seen only in their perversion. What, for
example is, with Sophocles, and still more especially with Æschylus,
the obscure and terrible spirit of predestination, sometimes
mellowed down towards the catastrophe of their dramas into the
unseen, yet not unfelt hand of a kind Providence, or overruling God,
becomes in the handling of Euripides the mere blindness of accident,
or the capriciousness of chance. He thus loses innumerable
opportunities—opportunities which his great rivals have used to so
good an effect—of giving a preternatural and ideal elevation to moral
fortitude in the person of his heroes, by means of opposing them in
a perpetual warfare with the arbitrations and terrors of Destiny.

Again; the Chorus, which appears never to have been thoroughly
understood by the moderns—the Chorus of Euripides is not, alas!
the Chorus of his predecessors. That this singular, or at least
apparently singular feature, in the Greek drama, was intended for
the mere purpose of preventing the stage from being, at any
moment entirely empty, has been an opinion very generally, and
very unaccountably received. The Chorus was not, at any time, upon
the stage. Its general station was in the orchestra, in which it also
performed the solemn dances, and walked to and fro during the
choral songs. And when it did not sing, its proper station was upon
the thymele, an elevation somewhat like an altar, but with steps, in
front of the orchestra, raised as high as the stage, and opposite to
the scene—being also in the very centre of the entire theatre, and
serving as a point around which the semi-circle of the amphitheatre
was described. Most critics, however, have merely laughed at the
Chorus as something superfluous and absurd, urging the folly of
enacting passages supposed to be performed in secret in the
presence of an assembled crowd, and believing that as it originated
in the infancy of the art, it was continued merely through caprice or
accident. Sophocles, however, wrote a treatise on the Chorus, and
assigned his reasons for persisting in the practice. Aristotle says little
about it, and that little affords no clew to its actual meaning or
purpose. Horace considers it "a general expression of moral
participation, instruction, and admonition;" and this opinion, which is
evidently just, has been adopted and commented upon, at some
length, by Schlegel. Publicity among the Greeks, with their
republican habits and modes of thinking, was considered absolutely
essential to all actions of dignity or importance. Their dramatic
poetry imbibed the sentiment, and was thus made to display a spirit
of conscious independence. The Chorus served to give verisimilitude
to the dramatic action, and was, in a word, the ideal spectator. It
stood in lieu of the national spirit, and represented the general
participation of the human race, in the events going forward upon
the stage. This was its most extended, and most proper object; but
it had others of a less elevated nature, and more nearly in
accordance with the spirit of our own melo-drama.

But the Chorus of Euripides was not the true and unadulterated
Chorus of the purer Greek tragedy. It is even more than probable
that he did never rightly appreciate its full excellence and power, or
give it any portion of his serious attention. He made no scruple of
admitting the parabasis into his tragedies1—a license which although
well suited to the spirit of comedy, was entirely out of place, and
must have had a ludicrous effect in a serious drama. In some
instances also, among which we may mention the Danaidæ, a
female Chorus is permitted by him to make use of grammatical
inflexions proper only for males.
1 The parabasis was the privilege granted the Chorus of addressing the spectators in
its own person.
In respect to the Ideality of the Greek drama, a few words will be
sufficient. It was the Ideality of conception, and the Ideality of
representation. Character and manners were never the character
and manners of every day existence, but a certain, and very marked
elevation above them. Dignity and grandeur enveloped each
personage of the stage—but such dignity as comported with his
particular station, and such grandeur as was never at outrance with
his allotted part. And this was the Ideality of conception. The
cothurnus, the mask, the mass of drapery, all so constructed and
arranged as to give an increase of bodily size, the scenic illusions of
a nature very different, and much more extensive than our own,
inasmuch as actual realities were called in to the aid of art, were on
the other hand the Ideality of representation. But although in
Sophocles, and more especially in Æschylus, character and
expression were made subservient and secondary to this ideal and
lofty elevation—in Euripides the reverse is always found to be the
case. His heroes are introduced familiarly to the spectators, and so
far from raising his men to the elevation of Divinities, his Divinities
are very generally lowered to the most degrading and filthy
common-places of an earthly existence. But we may sum up our
opinion of Euripides far better in the words of Augustus William
Schlegel, than in any farther observations of our own.

"This poet has at the same time destroyed the internal essence of tragedy, and
sinned against the laws of beauty and proportion in its external structure. He
generally sacrifices the whole to the effect of particular parts, and in these he is also
more ambitious of foreign attractions, than of genuine poetical beauty."
The Early Naval History of England. By Robert Southey, L.L.D. Poet
Laureate. Philadelphia: Carey, Lea & Blanchard. The early naval
history of England, and by so fine a writer as Southey undoubtedly
is, either in poetry or prose, but more especially in the latter, cannot
fail of exciting a lively interest among readers of every class. In the
subject matter of this work we, as Americans, have moreover a
particular feeling, for it has been often remarked that in no national
characteristic do we bear a closer analogy to our progenitors in
Great Britain than in the magnificence and glory of our many
triumphs both over and upon the sea. To those who know Southey
well, and we sincerely hope there are not a few of our readers who
do know him intimately, through the medium of his writings at least,
we shall be under no necessity of giving any assurance that the
History of which we are now speaking, is a work of no common
merit, and worthy of all their attention. Southey is a writer who has
few equals any where, either in purity of truly English prose, or in
melody of immortal verse. He is great in every department of
Literature which he has attempted. And even did we feel inclined at
present, with his very happily executed Naval History before us, to
quarrel with some of his too zealous friends for overrating his merely
poetical abilities, we could not find it in our hearts to place him
second to any one—no, not to our own noble Irving in—we will not
use the term classical, but prefer repeating our former expression—
in truly English, undefiled, vigorous, and masculine prose. Yet this
the North American Review has ventured to do, not having, we
think, before its eyes the fear of flat and positive contradiction from
all authorities whose opinions are entitled to consideration.

Comparisons of this nature, moreover, rarely fail of appearing, even
although they really be not, invidious; and in the present instance
we are really aware of no reason, or rather of no possibility for
juxta-position. There are no points of approximation between Irving
and Southey, and they cannot be compared. Why not say at once,
for it could be said as wisely, and as satisfactorily, that Dante's verse
is superior to that of Metastasio—that the Latin of Erasmus is better
than the Latin of Buchanan—that Bolingbroke is a finer prose writer
than Horne Tooke, or coming home to our own times, that Tom
Moore is to be preferred to Lord Brougham, and the style of N. P.
Willis to the style of John Neal? We mean to deal, therefore, in
generalities, when we disagree with Mr. Everett in what he has
advanced. Irving is not a better prose writer than Southey. We know
of no one who is. In saying thus much we do not fear being accused
of a deficiency in patriotic feeling. No true—we mean no sensible
American will like a bad book the better for being American, and on
the other hand no sensible man of any country, who pretends to
even common freedom from prejudice, will esteem such a work as
the Naval History of Great Britain the less for being written by a
denizen of any region under the sun.
The Gift: A Christmas and New Year's Present for 1836. Edited by
Miss Leslie. Philadelphia: E. L. Carey and A. Hart—We are really
sorry that we have no opportunity of noticing this beautiful little
Annual at length, and article by article, in our present number: and
this the more especially as the edition is even now nearly exhausted,
and it will be hardly worth while to say any thing concerning the
work in our next, by which time we are very sure there will not be a
copy to be obtained at any price. The Gift is highly creditable to the
enterprise of its publishers, and more so to the taste and talents of
Miss Leslie. This we say positively—the ill-mannered and worse-
natured opinion of the Boston Courier to the contrary

notwithstanding. Never had Annual a brighter galaxy of illustrious
literary names in its table of contents—and in no instance has any
contributor fallen below his or her general reputation. The
embellishments are not all of a high order of excellence. The
Orphans, for example, engraved by Thomas B. Welch from a
painting by J. Wood, is hard and scratchy in manner, and altogether
unworthy of the book—while the head of the child in the Prawn
Fishers, engraved by A. W. Graham from a painting by W. Collins,
R.A. has every appearance of a cabbage. But the portrait of Fanny
Kemble by Cheney, from Sully, is one of the finest things in the
world, notwithstanding a certain wiriness above the hair. The
likeness is admirable—the attitude exquisite—and the countenance is
beaming all over with intelligence. The gem of the book, however, is
the Smuggler's Repose, engraved by W. E. Tucker from a painting by
J. Tennant. We repeat it, this is absolutely a gem—such as any
Souvenir in any country might be proud to possess, and sufficient of
itself to stamp a high character upon the Gift.
INDEX
To Volume I of the Southern Literary Messenger.
PROSE.
A
Abolition of Southern Slavery—how regarded in New England 87
Adams' and Everett's Eulogies on La Fayette, reviewed 307

Address, Mr. Garnett's, on Associations to promote Education 282
Address, Mrs. Sigourney's, on Female Education 169
Address, President Olin's Inaugural, reviewed 15
Address, President Vethake's Inaugural, reviewed 585
Adventures of Harry Humbug, Esq. 772
Advice to Law Students 33, 34
Advice from a Father to his only Daughter 187
Affectation, Thoughts on 365
Alleghany Levels, described 97
Ambitious Lawyer, Memoir of an 645
American Churches, Visit to, by Doctors Reed and Matheson, notice
of 714
American Literature, its impediments 220
American Novels, recent—The Insurgents 478
Anecdotes of Patrick Henry 332
Annals of Education, recommended 205
Athens, a few days in, by Fanny Wright, notice of 715
Aunts, my two 189

Autobiography of Pertinax Placid, extracts from 617, 706
B
Bancroft's History of the U. S. vol I. reviewed 587
Bashful Gentleman 429
Bathmendi, a Persian Tale, from the French of M. Florian 377
Beauties of the Court of Charles II. by Mrs. Jameson, reviewed 312
Belford Regis, by Miss Mitford, noticed 651
Berenice, a Tale, by Edgar A. Poe 333
Black Watch, the, noticed 714
Blackbeard, a Philadelphia Story, notice of 595
Blackstone, Judge, a Poet 315
Blackstone's Commentaries, a note to 227
Remarks on that note 266
Reply to the remarks 388
Bon-Bon, a Tale, by Edgar A. Poe 693
Browne, P. A.—Hints to Geological Students 162, 300
Essay on the Mineral Wealth of Virginia 91
Law Case, involving a question in Hydraulics and Hydrostatics 44
Bryant's Poems, notice of 250
Buffon, his theory of the Earth's origin 302

Bulwer, his Pilgrims of the Rhine reviewed 53
Last Days of Pompeii 241
Convicted of Plagiarism 246
Burnet, Thomas, his theory of the Earth 301
Butler, Mrs. (once Miss Kemble) notices of her Journal 459, 524
C
"Calavar, an American Novel," reviewed 315
"Cavaliers of Virginia," reviewed 385
Caucus System, its effects 218
Etymology of "Caucus" 455
"Celebrated Trials of all Countries," notice of 458
"Celebrated Women," Madame Junot's Memoirs of, noticed 458
"Chances and Changes," reviewed 649
Chotank, Recollections of 43
Christian Education, Essay on 432
Churches, American, Drs. Reed and Matheson's visit to, noticed 714
Circumstantial Evidence, its danger illustrated by a narrative 142
Classics, thoughts on the study of 213
Classmates, My, a Tale 106

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