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Macbeth's soliloquies in the same style. All this was ludicrous enough, but upon this foundation Jarvis raised a superstructure, which he carried as high as the zest with which it was received by his companions, his own feelings, or other circumstances prompted or warranted. The unfortunate Monsieur B was imitated and caricatured with most laugh-provoking effect; but to add to the treat, he was made not only to recite, but to comment and criticise. If it were done,' 'peep through the blanket,' and, catch with the sursease, success,' gave a rich field for the imaginary critic's commentaries-then he would expose, and overthrow Voltaire's criticisms, and give as examples of the true sublime in tragedy, the scene of the witches in Mac beth.

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'Huen shall we thtree meet aggen?' but, 'mounched, and mounched, and mounched,' was a delicious feast for the critic-and 'rrump fed rronion,' gave an opportunity to show that the English witch was a true John Bull, and fed upon the 'rrump of the beef,' 'thither in a sieve I'll sail and like a rat without a tail, I'll do I'll do I'll do,' being recited in burlesque imitation, gives an opportunity for comment and criticism, something in this manner. 'You see

not only how true to navigation all this is. steer the sieve as the

nature, but to the science of If the rat had a tail, he could

sailor steer his ship by the

rudder; but if he have no tail, he cannot command the navigation, that is, the course of the sieve; and

it will run round-and round-and round-that is what the witch say "I'll do-I'll do I'll do !" ' But how can the humor of the story-teller be represented by the writer-or how can I dispose my reader to receive a story dressed in cold black and white-in formal type--with the same hilarity which attends upon the table, and the warm and warming rosy wine? The reader has perceived the want of these magical auxiliaries in the above."

Jarvis was equally ludicrous in his readings from Shakspeare, in imitation of the stutterer and lisper. The venerable Dr. C. S. Francis, who was intimately acquainted with the painter, says, "Dr. Syntax never with more avidity sought after the sublime and picturesque, than did Jarvis after the scenes of many-colored life; whether his subject was the author of Common Sense or the notorious Baron von Hoffman. His stories, particularly those connected with his southern tours, abounded in motley scenes and ludicrous occurrences; there was no lacking of hair-breadth escapes, whether the incidents involved the collisions of intellect, or sprung from alligators and rattlesnakes. His humor won the admiration of every hearer, and he is recognized as the master of anecdote. But he deserves to be remembered on other accounts-his corporeal intrepidity and his reckless indifference of consequences. I believe there have been not a few of the faculty who have exercised, with public advantage, their professional duties among us for a series of years, who never be

came as familiar with the terrific scenes of yellow fever and of malignant cholera as Jarvis did. He seemed to have a singular desire to become personally acquainted with the details connected with such occurrences; and a death-bed scene, with all its appalling circumstances, in a disorder of a formidable character, was sought after by him with the solici tude of the inquirer after fresh news. Nor was this wholly an idle curiosity. Jarvis often freely gave of his limited stores to the indigent, and he listened with a fellow feeling to the recital of the profuse liberality with which that opulent merchant of our city, the late Thomas H. Smith, supplied daily the wants of the afflicted and necessitous sufferer during the pestilence of 1832.

"We are indebted to Jarvis for probably the best, if not the only good drawing of the morbid effects of cholera on the human body while it existed here in 1832. During that season of dismay and danger our professional artists declined visiting the cholera hospitals, and were reluctant to delineate when the subject was brought to them. But it afforded a new topic for the consideration of Jarvis, and perhaps also for the better display of his anatomical attainments, he with promptitude discharged the task. When making a drawing from the lifeless and morbid organs of digestion, to one who inquired if he were not apprehensive of danger while thus employed, he put the interrogatory, 'Pray what part of the system is affected by the cholera?" The di

gestive organs,' was the reply. 'Oh no, then,' said Jarvis, 'for now you see I am doubly armed-I am furnished with two sets.'"

THE BIGGEST LIE.

Jarvis resided a long time at Charleston, S. C., where his convivial qualities made him a great favorite. On one occasion, at a large dinner party, after the wine had freely circulated, banishing not only form, but discretion, some one of the company proposed that they should make up a prize to the man who would tell the greatest and most palpable lie. It was purposely arranged that Jarvis should speak last. The President began. They

"Spoke of most disastrous chances,

Of moving accidents by flood and field."

Lie followed lie; and as it is easy to heap absurdity upon absurdity, and extravagance on enormous exaggeration; and as easy to excite laughter and command applause, when champaigne has been enthroned in the seat of judgment, each lie was hailed with shouts of approbation and bursts of merriment. One of the company, who sat next to Jarvis, had exceeded all his competitors, and unanimous admira. tion seemed to ensure him the prize. The lie was so monstrous and palpable, that it was thought wit or ingenuity could not equal it. Still, something was expected from the famous story-teller, and

every eye was turned on the painter. He rose, and

placing his hand on his breast and making a low bow, gravely said, " Gentlemen, I assure you that I fully and unequivocally believe every word the last speaker has uttered." A burst of applause followed, and the prize was adjudged to the witty artist.

JARVIS AND BISHOP MOORE.

Jarvis painted the portrait of Bishop Benjamin Moore, who used to relate one of his quick strokes of humor with great glee. The good Bishop, during one of the sittings, introduced the subject of religion, and asked Jarvis some questions as to his belief or practice. The painter, with an arch look, but as if intent upon catching the likeness of the sitter, waved his hand and said, "Turn your face more that way, Bishop, and shut your mouth."

JARVIS AND COMMODORE PERRY.

When Jarvis painted the portrait of Commodore Perry, he wished to infuse into the likeness of the hero the fire which he supposed animated him dur ing the terrible contest on Lake Erie. During two or three sittings he tried in vain to rouse him by his lively conversation; he would soon sink into a reverie; it was evident that his thoughts were far away. The painter now had recourse to artifice. He deliberately laid down his palette and pencils, got up, and seizing a chair, swung it over his head in a menacing manner. This strange conduct instantly brought Perry to his feet, his eyes flashing

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