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ORANGE JUDD & CO., Agricultural and Rural Book, Publishers, 41 PARK ROW, NEW YORK, HAVE JUST PUBLISHED 23 13.8 PEAT AND ITS USES. By Prof. S. W. JOHNSON, of Yale College. Part I. Origin, Varieties, and Chemical Character of Peat. Part II. On the Agricultural Uses of Peat and Swamp Muck. Part III. On Peat as Fuel. QUINBY'S MYSTERIES OF BEE-KEEPING. (Entirely rewritten.) M. QUINBY. This book is the result of thirty-five years' practical experience. 12mo., 348 pp., $1.50. By BRECK'S NEW BOOK OF FLOWERS. Fully Illustrated. By JOSEPH BRECK, Practical Horticulturist. 12mo., 480 pp., $1 75. RIVERS' MINIATURE FRUIT GARDEN. Illustrated. By THOMAS RIVERS. First American, from the thirteenth English edition. 12mo., 132 pp., $1. MY VINEYARD AT LAKEVIEW; or, Successful Grape Culture. By A WESTERN GRAPE GROWER. 12mo., 143 pp., bevelled boards, $1 25. SAUNDERS' DOMESTIC POULTRY. Revised and enlarged. By SIMON M. SAUNDERS. Fully Illustrated. 12mo., 168 pp., paper 40 cents; cloth, 75. 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CHILDS, PUBLISHER, Nos. 628 & 630 CHESTNUT STREET, PHILADELPHIA. GEO. N. DAVIS, 119 Rua Direita, Rio de Janeiro, Brazil, Agent for South America. A. ROMAN, San Francisco, California, Agent for the Pacific Coast. STEPHENS & CO., 10 Calle Mercaderes, Habana, Agents for the West Indies. Subscriptions or Advertisements for the “American Literary Gazette" will be received by the above Agents, and they will forward to the Editor any Books or Publications intended for notice. JAN. 15, 1867. OUR CONTINENTAL CORRESPONDENCE. The appearance of the unpublished correspondence of Heinrich Heine (which is extremely interesting, and leads us to hope great pleasure from his Memoirs, which lie in MS. in his family's hands) has led one of our newspapers to give this portrait of him: "I personally knew Heinrich Heine only by the screams wrung from him during the last weeks of his existence by the pains which chained him to bed. These screams were heard through the wall of his lodgings and reached mine, which were above his. In consequence of the internal arrangement of our lodgings I could see Heinrich Heine's bedchamber from one of my windows. His window was almost always open, as the oppressed lungs of the poet needed a great circulation of air. I more than once saw his broad and massive head, pale and haggard, but still energetic; and the invalid's undress revealed his enormous neck and his reclining, half seated, Heinrich Heine constantly wrote, and interrupted his labor solely to scream, or scold the persons who affectionately and constantly watched over him, or to talk with visitors. His conversation was lively and harsh; the tone of his voice was never amiable, nor very friendly. There was something abrupt in it. It was not merely the German accent which produced this abruptness, as some persons were disposed to think; it was the natural temperament of the writer which revealed itself in a state of continual explosion in these conversations." THIS Country really seems to be the own land of literary frauds. Another of them has been discovered which has roused a good deal of ill blood, and seems likely to spill some before it is forgotten. Some time since a M. Debriges, being hard pressed for money, applied for assistance to M. Louis Jourdain, an editor of "Le Siècle." The latter had neither gold nor silver, but he engaged M. Debriges to make a book, and suggested the Chevalier d'Eon as a salable subject. M. Debriges picked up an old work entitled "Les Mémoires du Chevalier d'Eon," published in 1836 by M. Gaillardet, and used his scissors with untiring energy. M. Louis Jourdain signed the book as author, and M. Dentu published it. A short time since M. Gaillardet wished to bring out a new edition of "Les Mémoires du Chevalier d'Eon." When he presented it to a pub-immense breast. In this posture of a man half lisher, he was told it was only a reprint of M. Debriges's "L'Hermaphrodite." He examined the latter, and found it was composed almost entirely of his work copied literally. He thereupon brought suit. MM. Jourdain and Debriges attempted to persuade him to abandon his action by making the explanations I have given you, and M. Debriges added that he thought the copyright of M. Gaillardet's book had expired. M. Gaillardet refused to accept the explanations, and has written some harsh cards in the public prints. He has extraordinary fortune as an author. He had something to do what his share was never clearly appeared-with writing "La Tour de Nesle." He had to bring a suit against M. Alex. Dumas to secure the appearance of his name on the play-bills and on the printed book as an author of the piece. This suit led to a duel between him and M. Alex. Dumas. When M. Dumas published his memoirs, M. Gaillardet attacked him for the history he gave of "La Tour de Nesle." Now he is attacking Messrs. Jourdain and Debriges. He is an author never heard of by his works, but known by his law-suits. His name is familiar to many of your readers by his career as editor of "Le Courrier des Etats Unis," the able organ of French interests in the United States. M. De Lamartine's work on "de Balzac" is likewise looked on as a literary scandal. It is made almost entirely of extracts from de Balzac's works. It is something even worse than his "Life of Byron," and is almost as bad as his "History of Russia," which was cut out of M. Schnitzler's "History of Russia," or his work on the "Beauties of Job," which appeared in "Le Siecle." This newspaper gave him 20 sous a line. To make as many lines as possible, he put into the work the whole book of Job, and little else just sauce enough to "bind" the ingredients of the dish together. M. Alex. Dumas uses scissors so unreservedly he can find nobody to buy his "copy," which is perhaps the reason he is going to revive his old "Mousquetaire" in a week or ten days. The history of the books M. Alex. Dumas signed, and yet was not their author, is a very curious chapter of literary history. Had I space, I would write it here. M. Alex. Dumas, Jr., is just now at M. Autran's residence, the Chateau de la Malle, near Marseilles. A. de Pontmartin is likewise M. Autran's guest. M. Dumas read to them his new play, "Les Idées de Mme. Aubray." M. de Pontmartin says of it: "I am still agitated by this new piece. It carried me completely away; it seems to me his most original, loftiest, and most eloquent work." The manager of the French comedy wished to persuade him to give it at the latter theatre. M. Dumas refused. M. Edmond About is writing a novel in the "Revue des Deux Mondes." The second part rather disappoints the public. Here is a sketch of M. Vacquerie, who has been called the moonshine of M. Victor Hugo: "I had never seen Vacquerie; no portrait of him had ever come into my hands. I expected to see an unpolished poet, with dishevelled hair. When I was shown into his study, I could not repress astonishment. He lives in the Rue de Verneuil, Faubourg St. Germain. Everybody who knows that quarter need not to be told the house he inhabits in no wise affects the stiff appearance of our new housesbarracks in white chokers. It is one of those old and solid houses which, if they sacrifice less to show, are at least more comfortable than the chests of drawers called houses in our new quarters. Vacquerie's study is vast; its appearance is of rather icy severity. It was sombre, and a crepuscular light, deepened by the falling rain, entered with difficulty through the folds of the curtains. The hangings were of a dark color, and the furniture wore a severe look quite incompatible with the idea I had formed of Vacquerie. He entered and held out his hands to me; his study was explained. head of an ascetic on the body of a Trappist appeared before me, with a face thin as the blade of a knife, hollow cheeks and eyes contrasting with the pale color of the face like two stones of jet. Vacquerie had no humbug about him. I asked him about the eternal "Tragaldabas," which nobody knows and with whose name everybody is familiar. Why don't you publish it? "Because I have a revenge to take. Be sure Tragaldabas' will one of these days be played again." A He went on to tell me several theatre managers had asked him to allow them to play it. He has refused, in the first place, because he wishes to rewrite an act which he formerly modified at the suggestion of Frederick Lemaitre; next, he wishes an actor, and there is but one in Paris who can play the part. This actor will not be free for two years to come. Vacquerie told me he was three years writing his new play "Le Fils," which he wrote at once from beginning to end; then he revised it again and again, until at last the definitive manuscript did not contain ten lines of the first. He is writing a book entitled "Life." |