(From a striking paper entitled “Correction, Melioration, Reformation, Revolution,” in Blackwood’s Magazine.)

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OLD PARLIAMENTS.

There is nothing in our history more uncertain than their nature and the extent of their power.  Blackstone says, that “the original or first institution of parliaments is one of those matters which lie so far hidden in the dark ages of antiquity, that the tracing of it out is a thing equally difficult and uncertain; and how members were returned to the Michel-Synoth, or Michel-Gemote, or Wittena-Gemote, of our Saxon ancestors, it would doubtless puzzle the learning even of Lord John Russell to ascertain.”  In the simple days of good King Alfred, parliaments were not summoned for “the dispatch of business”—­that is, to discuss regulations touching the taxes and the public debt—­the Bank affairs—­the East India affairs—­the West India affairs, and a thousand other concerns of national moment, then lying unborn in the womb of time.  In those days, the great council was ordained to “meet twice in the year, or oftener, if need be, to treat of the government of God’s people, how they should keep themselves from, sin, should live in quiet, and should receive right.”—­Blackwood’s Mag.

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LENDING BOOKS.

To lend a byeuck is to lose it—­and borrowin’s but a hypocritical pretence for stealin’, and shou’d be punished wi’ death.—­Ettrick Shepherd.

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THE GATHERER.

  A snapper up of unconsidered trifles.

SHAKSPEARE.

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HOW TO ROAST AN ACTOR.

If he is tall, you may discover that his person is ungraceful, and that he wants the dapper-size of Garrick.  If short, he is much under the proper size, and can never play the character of a hero, which is always fixed at five feet ten inches.  If his features are small, you can find out that they want expression; if large, his face is vulgar, and his nose too much beyond the dramatic size.  If his face be unexceptionable, you may with some pains discover a something in his eye.  If his eyes are piercing and intelligent, perhaps his features are stiff and unmanageable.  His shoulders may be broad; and, if not, it is a thousand to one but he stoops; and if he stoops, and does not turn out his toes, it is impossible he can understand his author.  If he is a scholar and a critic, and repeats a line as you never heard it repeated before, he must be a word-catcher.  If his manner is graceful, he has studied dancing too much; but if his manner is not graceful, be sure to tell him he must go to the dancing-school.  If you can discover