The Sun.
London, England, 1867-11-29 00:00:00

FRANCE.

M. Accoyer, known by the name of Spoll, direc-
tor, and M. Schiller, printer, of the journal the Cor-
saire, have just been tried at the Court of Correc-
tional Police for treating on political matters in that
publication, which is without authorisation, and has
not made the legal deposit of caution money. The
articles implicated were a " Causerie" in the num-
ber of the 15th November, and a paper entitled
" Les Cumulards," in that of the 18th. The first
contained some general remarks on the progress of
affairs, while the second criticised the direction of
the studies in the Jardin des Plantes. The court
condemned Accoyer to a month's imprisonment and
500 f. fine for each offence ; and Schiller to a month's
imprisonment and 100 f. for each of the offences. It
also ordered the journal to be suppressed, and the
two defendants to pay the costs.
The bulletin of the Paris Observatory of yester-
day morning gives the following as the atmospheric
situation :---" The weather is calm and the sky is
getting sensibly clearer in the W. and NAV. of
France; at the same time the wind veers to N. and
even to N.N.E. in Paris and in the Channel. This
change is caused by a barometrical rise of 8 mm. in
Scotland, and a fall of from 7 to 8 mm. in the centre
of Germany. The atmospheric pressure is weak
over the N.W. of Europe, and bad weather appears
to be passing across Germany towards the Mediter-
ranean. Snow fell this morning at Leipsic and at
Skudesnoer." In Paris, yesterday, rail fell heavily
in the early morning, and the sky showed ragged
clouds throughout the early part of the day. In the
afternoon the sun shone out and the horizon became
clearer. At three in the afternoon the thermometer
marked 7 7-10 Centigrade (45 4-5 Fahrenheit).

BOURSE, Nov. 28, Two o'clock.—The main
feature of the market is great confidence, and
another increase has taken place. Threes are at
69f, 'lke., with a rise of 37ic. Italian Fives 46f.
95c., an increase of 65c. Credit Mobilier 172 f.
50c., a rise of 12f. 50c. Spanish Mobilier 213 f.
75c., higher by 15f. Comptoir d'Escompte has
improved 2f. 50c., at 650 f. Credit Foncier 1,387 f.
50c., with a rise of 13f. 75c. French Railways in
demand ; in foreign nothing remarkable. English
Consols are telegraphed with a rise of at 93k.
Three o'clock.—The market closed as follows:

41 per Cent.
End of month —
3 per Cent
End of month 69 10
Credit llobilier
End of month 175
Credit Fonder _1387 50
End_of month 1390 -
RAILWA:

Bank Shares 3300
It!.Fan Loan
End of month 47 15
Mexican Loan .„ 13
Do. Bonds
Spanish Threes 37 25
Rome Debt —
Deferred 34
Account.
Orleans ... 872}
orthern 1175
Lyons and Mediterranean
Southern.... 560
Western
Eastern • • 535
Sardinian
Austrian
Lombard 350
North of Spain
Saragossa
Roman 4Bl

VEST VALI.

Felicita de Vestvali is a member of an old aria-
iocratic family, being the daughter of the Count

Pawlowski, who was married to Charlotte, Barouess

llunefeldt. She was born in Berlin on the 23d of
February, 1811. Endowed by nature with singular
talent, she was early given every advantage that in-
struction could afford. At the age of 12 she spoke
five languages fluently, and was well versed in the
works of the principal ancient as well as modern
poets. She was likewise a skilful performer upon
several musical instruments.- Her education was
conducted principally in Berlin, where she studied
elocution under the celebrated Emil Devrient, and
subsequently became a pupil of the famous
Professor Rocaurt. Having completed her
musical studies under the great Maestro Merca-
dante, she made her debut at the Theatre
of La Scala, in Milan, as Azucena, in Verdi's
opera " Il Trovator6," and effected at once
an extraordinary sensation. She then made a tour
of the principal cities of continental Europe—Rome,
Florence, Naples, Vienna, Berlin, St. Petersburg,
Amsterdam, Madrid, and Lisbon, fin lly visiting
Paris, where she had been previously offered to be
received as a substitute for Rachel, at a period when
the physical powers of that grand actress began to
how symptoms of decay.
At the Imperial opera in Paris, Vestvali created
a perfect furore in the part of Romeo (the piece
having been expressly for her rendered into French).
Fiorentini, Jules Janin, and all the leading critics
spoke of her genius and execution in language of
the highest eulogy. After a brilliant career of two
years in Paris, the universal laudations bestowed
upon her histrionic abilities decided her on culti-
vating the loftiest walks of the drama, and she pro-
ceeded to give several representations in Germany,
reaping additional laurels in that classic( land of art,
which she would have made her home, but that the love
of travel and adventure impelled her to seek " fresh
fields and pastures new." The New World next
became the arena of Vestvali's triumphs. In Mexico,
Cuba, and all the chief towns of the United States,
she was received with enthusiastic admiration
throughout her professional campaign. She was,
moreover, greeted most cordially at the 'White
House by both the late and the present President
of the Great Republic.
From all who have enjoyed the good fortune of
her private acquaintance she has won gol len opi-
nions both in Europe and America as a most amiable
and accomplished lady, whilst the public and the
press of the various countries of her sojourn have
paid universal homage to her as an artist of con-
summate histrionic ability. The warm, impulsive,
frank, and sincere nature of Felicita de Vestvali
attracts affectionate regard, as her artistic pre-
eminence commands profound admiration.
Vestvali's features are handsome, their expres-
sion pleasing and replete with intelligence. Her
figure is tall, commanding, and splendidly
moulded. Her action is characterised by dignity
and grace. Her voice, in speaking and in singing,
is one of great power, richness, and melody. That
study and reflection have been superadded to un-
common natural gifts is evident from her great im-
personation of Romeo, now being nightly given at
the Lyceum, and which has been hailed by crowded
audiences with storms of applause, and commented
on by the London press in terms of high praise, as
being portrayed with the utmost skill, with ad-
mirable power of elocution, originality of concep-
tion, and overpowering vehemence of passion. She
has been pronounced to be the best " mile actor"
on the stage; and a fitting colleague to Helen
Faucit and Ristori. From seeing Vestvali in
Romeo, we can easily conceive that she amply
merits the reputation she has achieved, not only
in such parts as her original creation of " The
Jewish Mother," but in Lady Macbeth and the
other parts that she has played in English, which
language she is acknowledged to speak with perfect
purity and correctness of pronunciation.

Mr. Robert Buchanan is preparing a bijou edition
of Longfellow's Poems for Messrs. Moxon, which is to'
c mtain a complete collection of that author's poetical
works, and to appear in two volumes, uniform with the
popular edition of Hood's Serious and Comic Poems. Each
volume will be prefaced by a critical esearby the editor.

LITERATURE.

Messrs. Moxon's Publications.

TENNYSON'S " VIVIEN " AND " GUINEVERE."
ILLUSTRATED BY GUSTAVE DORE.

Another magnificent volume has, here, done honour
to the genius alike of Gustave Dore and Alfred
Tennyson. The " Elaine" of last Christmas has been
fully equalled, if it has not even been surpassed, by
the " Vivien" and the " Guinevere" prepared for the
coming Christmas. And simultaneously with the pub-
lication of these superb companion gift-book=, the
publishers give golden promise of yet a fourth
Idyll of the King, to be issued from the press at
the approach in 1868 of next Christmas twelve-
month—" Enid," to wit, another of the classic
masterpieces of the Poet Laureate. Accepting " the
goods the gods have given us," accepting what
we have actually now in hand—neither looking for-
ward, that is, to the coming " Enid" of next season,
nor backward in retrospect at the lovely, "Elaine"
of last season—we have certainly here immediately
under our notice in these two nobly illustrated
companion editions of " Vivien" and Guinevere"
sufficient, in all conscience, while turning the leaves
to captivate two of the senses—the ear through
• the music of the verse, the eye through the sym-
pathetic and harmonious beauty of the embellish-
meats. Witnessing editions de luxe such as these
coming forth year after year during his own
lifetime, must be assuredly for Mr. Tennyson
himself like a very foretaste of the admiration of
posterity. And he is certainly to be congratulated
upon having had the expansion of his own immense
popularity to a very considerable extent kept pace with
by the co-operative enterprizeof his publishers; while
he has yet more recently through that very eater-
prize of theirs, had his name covered with a
new glory, a glory reficetel back upon the
author himself, and upon two or three of the
choicest among his poems, by the artistic
genius of M. Gustave Dore. Fresh from
his astounding achievements as an illustrator
of the Holy Bible, of Milton, of Dante, •of Cer -
vantes the young French draughtsman has
seemingly devoted the whole force of his genius, as
to a genuine labour of love, when undertaking this
latest and apparently most congenial task yet
allotted to him, that of revealing by his pencil the
marvellous scenery and the exquisite forms already
delineated with such master-touches of art, by the pen
of Alfred Tennyson. The originals of these latest
effusions of Dore's daring and prolific genius are now
on view at the publishers' in Dover-street, Piccadilly.
But, here, in engravings of rare excellence from the
burines of engravers as skilled as Baker, Barlow,
Brandard, Finden, Godfrey, Greatbach, Jeens,
Mote, Ridgway, Saddler, Stephenson, and Willmore,
we have those same original drawings of Dore's very
wonderfully rendered indeed by a sister art. Added
to which—those among the artist's more enthusiastic
admirers who may be desirous of possessing even
exacter copies than any that could be produced by
the hand of the most faithful and dexterous engraver
that ever lived, may, if they so please, secure to
themselves by preference literal reflections from the
actual drawings of Gustave Dore, in the form of a
series of exquisitely delicate photographs—two of
which, indeed, are here given in the published
volume, vis-à-vis to the corresponding engravings.
The one prefixed to Vivien being illustrative—how
marvellously !—of the lines—
" And pushing his black craft among them all,
He lightly scattered theirs and brought her off

With loss of half his people arrow slain."
Death hurtling in the air in a cloud of arrows,
gurgling and washing luridly about the hulls of the
grim warships, struggling fiercely in the desperate
forms of the contending warriors! The companion
phOtograph to " Guinevere" being illustrative of a
very different spectacle, indeed—

"And still, at evenings, on before his horse
The flickering fairy-circle wheerd and broke,
Flying."

The solitary mail-clad horseman, conspicuous afar
off on the height in the moonlight—the night wind
blowing freshly through the tall water-reeds in the
foregrouud—the swirling, eddying trail of fairies
voluptuously swimming past in mid-air ? Shall
we say it? however, while the vigorous en-
graving, by Stephenson, of .the desperate
conflict in " Vivien" is after all, in spite
of its excellence, inadequate as a rendering of
the wonderful lights and shadows in the original
drawing from the hand of Dore—Ridgway's ver
sion of the wheeling fairy circle in Guinevere
seems almost an improvement in some respects :
judging of the contrast, that is, by a mere
comparison of the engraving with the accom-
panying photograph. Eighteen drawings there
are in all to the two poems—nine to " Vivien" and
nine to " Guinevere." And again we are left in
doubt, after a careful examination of them all, as to
whether Dore's genius is more conspicuously mani-
fested in his limnings of the " human face [and
form] divine," or in his delineations of scenery.
The illustrations of " Vivien" take, almost by
right, precedence of those to " Guinevere." Take
the first—not the frontispiece (already mentioned)
but the first in the body of the text—

" At Merlin's feet the wily Vivien lay."
This is the opening scene of all—under the oak "so
hollow, huge, and old," as the poet slugs, that it
" looked like a tower of ruined mason work." The
storm coming--not come, but coming—in" the wild
woods of Broceliande." The venerable magician
and the voluptuous enchantress are revealed, there,
to our view as the fitting denizens of those awful
woodland solitudes. Next comes—

" And touching Breton sands they disembarked."
Under the shadow of a gaunt and craggy head-
land, the same two forms, Merlin and Vivien, are
seen advancing from the beach, across the sands,
on towards the next incident of their wanderings
together, namely, to their re-entrance into the
wild woods of Broceliande—a scene of rare and
austere beauty, in which the eye notes the casual
dropping, here and there, of a flickering leaf
from the autumnal branches. A glorious depth of
overshadowing woodlands there is in the next
drawing in this marvellous series of illustrations to
" Vivien"—the one in which Arthur and his Knights,
brimming goblets in hand, aro pledging each other
at the first
,thought
"About the founding of a Table Round."
But the glory and rush of the next are yet more
remarkable—where the royal and knightly caval-
cade are seen careering over the dense underwood,
and over the prostrate trunks of trees crumbled by
age or blasted by lightning—the riders bearing
straight down upon us " against a rushing wind,"
as we gaze upon the animated picture with an admi-
ration which it commands rather than simply claims.
The next is very beautiful—

" And speaking not, but leaning over him,
I took his brush, and blotted out the bird."
Merlin is the speaker—the "fair young squire" being
the draughtsman, for the nonce, whose device upon
his shield is thus emended by the hand of the
magician. Afterwards we have the " little glassy-
headed hairless man," seated, hermit-wise in his
rocky den at his meditations—an admirable piece of
character-painting with a magical flooding in of the
outer light, in the midst of which the foragers are
described by " the great master" as descending into
the cavernous abode of the recluse. Merlin's sleep
and Vivien's flight, in the next picture—with the
roaring of the storm through all and over all—the
storm of wind and rain and lightning and thunder—
bending the branches of the prostrate oak, snapping
the twigs off, whirling away a cloud of flying leaves
" thick as leaves of Valambrosa," wild and weird as
(what they actually are) the leaves of Broceliande
—all this is astonishingly pourtrayed by Gustave
Dore's pencil, as all of it had previously been
as astonishingly pourtrayed by Tennyson's pen of
luminous fascination. Of the nine drawings allotted
to " Guinevere," and of which we have as yet only
made mention of one (the frontispiece)—the most
tenderly pathetic among them all is that in which
Lancelot and his love --

"Rode to the divided way,
Then kissed and parted weeping."
A charming scene, the pathos, the light, the beauty
of which are simply inimitable. The flight to Alines-
bury " by glimmering waste and weald"— next in
sequence—has in its way also a singular power

of fascination. So, too, the glorious star-
light scene upon the terrace—and the forest
glade, where the Cupids are gambolling among
the wayside flowers—and the Cornish sea foam-
ing up on the sand of " dark Dundazil"
—and (best beautiful of all) the lovers sauntering
their horses 4‘ under groves that looked a paradise of
blossom"—these, with the rest of the charming em-
bellishments to " Guinevere," complete a volume as
beautiful, both poetically and pictorially, as the most
fastidious lover of verse and art could reasonably
wish to see, or still more to possess. Poetry
like that of Tennyson, but more especially in these
his " Idylls of the King," is essentially every young
and ever fresh in its vernal and perennial beauty.
And though adorning it thus by the graces and
charms of asympathetic and congenial art, somewhat
partakes of the nature of gilding refined gold, paint-
ing the lily, and adding a perfume to the violet—one
is almost tempted to speak of the freshness and youth
of poetry like this, when so adorned, as about the
aptest illustration the world has yet been of—La
Jeunesse Dord.