Retrospect of French Literature—Miscellaneous. 
eondemna every erroneous proposition 
that may have escaped from me in these 
different writings. 1 likewise exhort all 
my countrymen to entertain sentiments 
of peace and of concord; I ask pardon 
of all those who think they have a right 
to complain of me; and LI, myself, at the 
same time, iu like manner, most sincere- 
ly pardon all those of whom I have a 
right to complain.” 
The works of M. de la Harpe are vo- 
luminous; an edition of them was pub- 
lished in 1771; and in 1806 a new one 
appeared under the title of “ (Euvres 
Choisies & Posthumes,” in 4 vols. cor- 
rected with his own hand. 
Vol. I. contains Le Comte de War- 
wick, Melanie, Jeanne de Naples, Phi- 
loctete, Coriolan & Virginie. 
Vol. If. his Moliere- “a la nouvelle 
Salle,” with extracts of Gustave, Timo- 
‘leon, Pharamond, Menzicofie, les Bare- 
mecides, Barnevel, les Muses Rivales, 
les Brames, Polynexe, Vengeance d’A- 
chile, Aboulcasem, Jerusalem’ Delivree, 
& la Pharsalie. 
Vol. Ill. his “ Discours en Vers,” his 
< Poesies Legeres,” his “ Epitres & Pieces 
Diverses,” and his “ Discours Acade- 
migues.” 
Voi. IV. consists of * Précis Historique 
sur le Prince Menzicof,” and “ Fragmens 
d’Apologie de la Religion ;” containing, 
1. Philosoptical Prolegomena, ora de- 
monstration of the essential connexfon 
between Man and God. 
2. The certainty of the mission of Jesus 
Christ and the Apostles. 
3. Of Miracles. 
4. Of Mysteries and the Prophecies. 
And, 5. imitations in verse, of two" 
Psalms. 
MISCELLANEOUS. 
< Cours complet d’Harmonie et de 
Composition, d’aprés une Théorie nou- 
velle; par J. J. pe MoMIGNY. Trois vol. 
in 8vo.”—A complete Ceurse of Harmony 
and Composition, after a new Theory ; 
by J. J. de Momigny. 
M. de Momigny has on this occasion 
endeavoured to presenta series of musical 
compositions in every point of view ; and 
he now appeals to the judgment of these 
who have occupied their attention with 
this charming art Quintilian observes, 
that it would be fortunate if such only 
were to decide: “ Felices essent artes si 
de illis soli artifices judicarent.” 
The Author is allowed, by some of the 
critics, to possess a brilliant imagination, 
abounding with novelty; and is at the 
saine time considered as a competent 
683 
and enlightened judge. Whether or not 
he has found out the boundaries. of the 
true theory of music as here pretended, 
still remains to be proveds; but it is evi- 
dent that he is a complete courtier, for he 
terms the union of instrumental sounds 
with the human voice, the “‘monarchical 
unity;” and seems to think, that every_ 
thing “ democratical,” “ aristocratical,” 
“ directorial,” or “ republican,” is in di 
rect opr sition to “ harmony.” 
“ Pericles: De VInfluence des Beaux 
Arts sur la Félicité publique ; nouvelle E- 
dition, revue & corrigée par lAuteur.”— 
Pericles, or the lnflueuce of the Kine Arts 
on the public Happiness ; 2 new edition, 
revised and corrected. 
The author of this work is a sovereign 
prince, although he is content to de- 
signate ‘himself simply in the title-page 
as “ Charles d’Alberg, a foreign associate 
‘of the Institute of France.” It consists. 
of seven dialogues, in which an attempt 
is made, by the adoption of the dramatic 
form, to give animation to philosophic 
truths respecting the fine arts; and these 
are here contemplated rather im respect 
to their utility than their elegance. By 
the elevation of genius, and the in- 
citement to virtue, they are, in fine, re- 
garded as influencing private as well as 
public happiness, in no common degree. 
The first dialogue takes place between 
Anaxagoras and Euripides, on leaving the 
theatre after the representation of the 
tragedy of Helen. This serves as a pre- 
face to the whole; for, after the poet 
had detailed his reasons for writing for 
the stage, the philosopher animadverts on” 
the connexion between the drama, and 
architecture, painting, scuipture, and mu- 
sic. He at the same time announces his 
design to engage Pericles to patronise and 
encouraze all these arts. 
The second dialogue is between Anax- 
agoras and Pericles, in the square where 
the latter has just harangued the people. 
This statesman, although fully sensible of 
the emotions which the fine arts confer, 
at first resists all the insinuations and all 
the counsels of the philosopher. 
“¢ How is Greece interested,” says he, 
“in respect to the embellishments of 
Athens? She desires that the empire of 
the laws may preserve her alike from 
despotism and anarchy: this is the only 
object of all her vows.” 
Anaxagoras, on the other hand, re- 
marks, that, provided Athens should be- 
come a school in which distinguished 
talents of every kind took up their abode, 
great advantages weuld necessarily accrue 
te 
