ART. II.-SKIZZEN AUS SPANIEN, VON V. A. HUBer. Göttingen, 1828.

SKIZZEN AUS VALENCIA UND MURCIA, VON V. A. HUBER. 2er Theil. 2er Theil. Göttingen, 1833.

STORIES OF SPANISH LIFE, from the German of Huber, edited by Lieut. Col. CRAWFURD, of the Grenadier Guards, in two volumes. London, 1837.

UPON comparing the above titles any one would be inclined to suppose that the two volumes of the English translation corresponded to the two of the German original. This would be, however, a great mistake, and would betray much ignorance of the ways and means by which not a few of the English publishers manage to make the purchasers of books contribute to their enormous profits. It is well known that a work under three volumes has no chance of seeing the light, unless the author publishes it at his own expense. Even then, such works will generally drop dead from the press: for no exertions whatever will be made to give them circulation. Were it not so, many an author would print at his own expense, whereby the enormous gains of the mercantile tyrants of literature would receive a great check. What then is to be done when an author or translator, whom a fashionable publisher will not disoblige, comes to him with a thin manuscript, containing too much for a pamphlet, and falling very short of the three now-established octavos? To this question Col. Crawfurd's translation of Huber affords a very striking answer. That translation does not extend beyond the first part of Huber's Sketches: indeed it is probable that, owing to the difficulty with which German books have hitherto been obtained in England, the translator was not aware that a second part, nearly the double of the first in size had been published in 1833. We conceive that the publisher, in this dilemma, must have stated the insurmountable objections which opposed the printing the manuscript before him in the form of a single octavo. He probably added, that nevertheless he would exert his ingenuity in order to please the writer. The scanty copy he would say shall be stretched like a piece of Indian rubber, by means of very large margins, and double spaces between the lines. A preface by the translator, and perhaps a detached Spanish ballad in the form of appendix, though it may have little or no connexion with the text will fill up a couple of sheets. We must have two volumes at the least, price twenty

*The first part appeared in 1828.

shillings: one of them will (it is true) be shockingly thin and emaciated: the other will however show more decent dimensions. Such is the plan which has been carried into execution in regard to Col. Crawfurd's translation. We fully acquit that gentleman of having the least hand in these editorial tricks; but, in justice to the public, we must call their attention to such practices: they are grown too common to be endured patiently.

In spite, however, of these grounds for complaint, all those who take an interest in descriptions of national character, but especially such as sympathize with the Spanish nation in her various misfortunes, among which the evil influence of her wretched governments, which has for ages checked the full display of her noble qualities, is not the least; such readers have reason to thank Col. Crawfurd for his able translation of the first part of Huber's Sketches. We certainly wish he had not changed that title, and rendered SKIZZEN by STORIES. Besides that there would be no incongruity of language in a literal translation of the German word, the author has laid so much stress upon it, that it is almost unfair to deprive him of the advantages which he expected from the word SKETCHES, as apt to direct the judgment of his readers, and give them the exact measure of what he had intended to perform. We believe that he twice appeals to the word SKETCHES, in anticipation of some criticisms to which the work appeared to be exposed.

The translator has very properly furnished the English reader with such information, respecting the political events which took place in Spain immediately before the period chosen by Huber for his SKETCHES, as is seldom possessed by the public at large, but without which the story would lose much of its vividness and effect. Upon the whole, Col. Crawford has given us a book of considerable entertainment, as well as instruction.

It will increase the confidence of the reader to know, that both Huber and his translator are well acquainted with Spain. Happening to know a friend of our German author, we are able to give some account of that, as it seems, very interesting person. He is a native of Bremen, where he is married, and settled as head master of the high school or Gymnasium of that city. His mother was a daughter of the renowned classical scholar Heyne, who, one might think, had transmitted her family talents to her son. She was unfortunate in her husband; who, after the birth of our Huber, left her to shift for herself and her child. Through the benevolence of friends, young Huber was enabled to receive a classical education; and he repaid them by the satisfaction which they must have derived from his industry and distinguished success at school. He was intended for one

of what the Germans call Bread-professions, either law or medicine-we believe it was the latter; but his natural taste was for classical and general literature. Fortunately, however, this has proved a Bread-profession to him. But before he was placed at the head of the Bremen Gymnasium, he had the advantage of being engaged by some young German nobleman as travelling tutor. It was in this capacity that he visited Spain. Huber's natural character was well calculated both for the duties of a travelling companion, and for deriving the highest pleasure and instruction from a visit to such a country as Spain. With a warm and kind heart, a social disposition, and a most perfect absence of pride or conceit, Huber was just the man to delight the Spaniards, and to become attached to them. We are fully convinced that there is no nation more ready to treat a foreigner kindly than the inhabitants of the Spanish Peninsula, especially those of the south. Provided a foreigner does not betray design to assert his national superiority over an unfortunate people, who, conscious of their noble qualities, have had to endure, for more than three centuries, the hard lot of seeing all other civilized nations advance more or less rapidly, leaving them constantly and almost hopelessly behind, a foreigner that will unaffectedly show a sense of respect for the Spanish people, and a sincere sympathy for the evils which a long succession of bad government has inflicted upon them, that foreigner will very soon find himself quite at home in Spain; he will soon imagine that he has spent the best part of his life among that people to whom no frank and open-hearted man is a stranger.

This fact explains both Huber's intimate knowledge of Spanish life, and his warm attachment to every thing relating to that life. Often has the deeply mortified self-esteem of the Spaniards induced their writers to appear in defence of their insulted qualities of mind and heart; but we do not remember a more convincing Apology for Spain than that with which Huber opens the first part of his Sketches.

It will, however, be asked, are the Sketches themselves quite correct? In our answer to this question, we must distinguish two sorts of sketches,-those of customs and manners, and those of picturesque spots: the latter are not only correct but beautiful; the former are generally good, but by no means free from such mistakes of detail as none but a native, or a perfectly naturalized foreigner, can avoid. The peculiarities of national customs and manners are too minute to strike the eye correctly We have read a considerable number of descriptions of the Spanish bull-fights, drawn indeed by most able observers; but, being ourselves thoroughly acquainted with that national

at once.

amusement, we can positively assert that there is not one among such pictures exempt from some egregious mistake. We do not exclude from this censure Lord Byron's spirited description of a bull-fight in Childe Harold.'

Foreigners who describe countries where they have dwelt only a short time, whatever feeling of sympathy with the natives they may feel, (and this sympathy is, indeed, very deep and sincere in our author,) should content themselves with general descriptions, especially of material objects, and more minute accounts of particular characters and events which may have fallen under their immediate observation. In works like the present, where fiction is employed as a mere ground on which to arrange the sketches collected during the writer's visits, the utmost care should be had not to attempt too much detail, or too glaring a colouring. The reason is, that though the truth of the individual sketches, taken on the spot from reality, may be striking, a transient acquaintance with a foreign country is not sufficient for the purpose of grouping the figures correctly, and much less of presenting them in action with a truly national tone and life. Both writers and painters should endeavour to see deeply into the truth of this observation. We have splendid prints of various remarkable places in Spain, which, in spite of the great artistical merit of the engravings, must annoy every person well acquainted with that country, by the innumerable solecisms in which the compositions abound. We recollect a splendid view of the interior of the cathedral of Seville into which the artist has introduced his occasional sketches of monks in their peculiar church vestments, and sprinkled them in the most absurd and unmeaning manner over the flight of steps which leads to the high altar. The figures which make up the people filling up the aisles are, considering the place where they appear, no less untrue in their attitudes and position. Each is correct enough in itself; but, as intended to show the interior of the cathedral of Seville during divine service, nothing can be more preposterous. A procession totally unlike those that are seen in that magnificent temple is presented to the view, as perambulating its interior. A porter has laid down his load before a colossal fresco of St. Christopher, before which we doubt that ever any Spaniard was found kneeling; but the porter is represented stretched at length on his face, a posture totally unused except in a few peculiar sanctuaries.

Faults analogous to these are found in the Spanish Sketches; but they are neither frequent nor very important. We will mention one or two instances. The description of the Andalusian Majo and Maja, i. e. the showy Spanish BULLY, and the female

of that species, is generally true. One of the personages introduced as a specimen is thus represented :

"He was rather tall for an Andalusian, and his whole frame indicated force, address, and temperance, and was set off in the most advantageous way by the rich dress of an Andalusian Majo. His hair was tied up in a green net,-the so-called Redecilla, which was worn formerly much more generally in Spain than it is at present. He wore a short jacket of blue velvet, with a great deal of silk lace, embroidery, and silver tassels. A coloured silk handkerchief was wound carelessly round his throat, but did not entirely conceal his snow-white shirt, with a broad frill. His close-fitting breeches of fine brown cloth reached to his knee about his body he wore a Faja of red silk: shoes and gaiters of light brown leather, reaching up just below the knee, and covered with embroidery, completed the dress of the young Majo, who presented himself to Antonio as his brother."-pp. 151, 152.

:

We must also insert part of the note which is intended to complete the description.

"The expressions, Majo and Maja, like many others, are difficult to translate and to explain, and we find no analogous one in any other Language. Majo and Maja, in the first place, are used as adjectives, in the sense of well-dressed, especially with the intention of pleasing; for instance, Ay que maja estas nina!'-' Ah, how smart you have made yourself, girl!' As a substantive, it denotes amongst the lower classes, what we are accustomed to call in higher society, a petit-máitre, or dandy. The majo is a young man, who is induced, by some motive or other, to try to play a role in his class of society, and this partly through his dress. It originated in Andalusia-how and at what time we cannot pronounce, and it is known under the name of vestido de Majo, or vestido Andaluz.

"The majo himself, also, is a genuine Andalusian production, and is only to be found there in his perfection. But clothing, and a handsome exterior, are not sufficient to make our young man a Majo; he must support and defend his pretensions by all the bodily and mental advantages, which, according to the manners and kind of life of his equals, give him consideration and influence amongst men, and procure him the favour of the women. He must be a first-rate rider and shot, but, above all things, he must know how to manage the navaja punal, as well in thrusting as in throwing."—pp. 152-153.

That this may be allowed as the true GERMAN IDEAL of the Majo is undeniable, but though the account of that peculiar dress is generally correct, yet a person thoroughly acquainted with Spain, will instantly perceive not a few inaccuracies. The Majos are supposed to "tie up their hair in a green net;" yet it may be about half a century since that fashion existed. Herr Huber must have seen the green net among the lower classes of