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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:41:38 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:41:38 -0700 |
| commit | 9f4fb0d5cdd4e132feed1b1fca5304f9a9ddd8b6 (patch) | |
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diff --git a/13220-h/13220-h.htm b/13220-h/13220-h.htm new file mode 100644 index 0000000..9d8e94d --- /dev/null +++ b/13220-h/13220-h.htm @@ -0,0 +1,21709 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<meta name="generator" content= +"HTML Tidy for Windows (vers 1st February 2004), see www.w3.org"> +<meta http-equiv="Content-Type" content= +"text/html; charset=UTF-8"> +<title>The Project Gutenberg eBook of Library of the World's Best +Literature, Ancient And Modern, by Charles Dudley Warner.</title> + +<style type="text/css"> + <!-- + P { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + BODY{margin-left: 10%; + margin-right: 10%; + } + .heading {margin-left: 12em; margin-right: 12em;} /* heading indent */ + .blkquot {margin-left: 4em; margin-right: 4em;} /* block indent */ + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem p.i1 {margin-left: 1em;} + .poem p.i2 {margin-left: 2em;} + .poem p.i3 {margin-left: 3em;} + .poem p.i4 {margin-left: 4em;} + .poem p.i5 {margin-left: 5em;} + .poem p.i6 {margin-left: 6em;} + .poem p.i7 {margin-left: 7em;} + .poem p.i8 {margin-left: 8em;} + .poem p.i9 {margin-left: 9em;} + .poem p.i10 {margin-left: 10em;} + .poem p.i11 {margin-left: 11em;} + .poem p.i12 {margin-left: 12em;} + + blockquote {text-align: justify; + margin-left: 10%; + margin-right: 10%;} + .loc { TEXT-ALIGN: right; + margin-left: 15%; + margin-right: 15%;} + IMG { + BORDER-RIGHT: 0px; + BORDER-TOP: 0px; + BORDER-LEFT: 0px; + BORDER-BOTTOM: 0px } + .ctr { TEXT-ALIGN: center } + .sign { float: right; + margin-top: 0em; + margin-bottom: 0em; + margin-left: -5%; + margin-right: 0%; + TEXT-ALIGN: center } + .rgt { float: right; + margin-top: 0em; + margin-bottom: 0em; + margin-left: -5%; + margin-right: -5%; + TEXT-ALIGN: center } + .lft { float: left; + margin-top: 0em; + margin-bottom: 0em; + margin-left: -5%; + margin-right: -5%; + TEXT-ALIGN: center } + .par { float: left; + margin-top: -1em; + margin-bottom: 0em; + margin-left: -6%; + margin-right: -12%; + TEXT-ALIGN: center } + H1,H2,H3,H4,H5,H6 { text-align: center; } + HR { width: 33%; } + // --> +</style> +</head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 13220 ***</div> + +<h2>LIBRARY OF THE</h2> +<h1>WORLD'S BEST LITERATURE</h1> +<h3>ANCIENT AND MODERN</h3> +<br> +<hr style="width: 35%;"> +<br> +<h2>CHARLES DUDLEY WARNER</h2> +<h4>EDITOR</h4> +<br> +<hr style="width: 35%;"> +<br> +<h3>HAMILTON WRIGHT MABIE<br> +LUCIA GILBERT RUNKLE<br> +GEORGE HENRY WARNER</h3> +<h4>ASSOCIATE EDITORS</h4> +<br> +<hr style="width: 35%;"> +<br> +<h3>Connoisseur Edition</h3> +<h4>VOL. IV.</h4> +<h5>1896</h5> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<h2>THE ADVISORY COUNCIL</h2> +<br> +<div class="poem"> +<div class="stanza"> +<p>CRAWFORD H. TOY, A.M., LL.D.,</p> +<p class="i2">Professor of Hebrew,</p> +<p class="i2">HARVARD UNIVERSITY, Cambridge, Mass.</p> +</div> +<div class="stanza"> +<p>THOMAS R. LOUNSBURY, LL.D., L.H.D.,</p> +<p class="i2">Professor of English in the Sheffield Scientific +School of</p> +<p class="i2">YALE UNIVERSITY, New Haven, Conn.</p> +</div> +<div class="stanza"> +<p>WILLIAM M. SLOANE, PH.D., L.H.D.,</p> +<p class="i2">Professor of History and Political Science,</p> +<p class="i2">PRINCETON UNIVERSITY, Princeton, N.J.</p> +</div> +<div class="stanza"> +<p>BRANDER MATTHEWS, A.M., LL.B.,</p> +<p class="i2">Professor of Literature,</p> +<p class="i2">COLUMBIA UNIVERSITY, New York City.</p> +</div> +<div class="stanza"> +<p>JAMES B. ANGELL, LL.D.,</p> +<p class="i2">President of the</p> +<p class="i2">UNIVERSITY OF MICHIGAN, Ann Arbor, Mich.</p> +</div> +<div class="stanza"> +<p>WILLARD FISKE, A.M., PH.D.,</p> +<p class="i2">Late Professor of the Germanic and Scandinavian +Languages and Literatures,</p> +<p class="i2">CORNELL UNIVERSITY, Ithaca, N.Y.</p> +</div> +<div class="stanza"> +<p>EDWARD S. HOLDEN, A.M., LL.D.,</p> +<p class="i2">Director of the Lick Observatory, and Astronomer</p> +<p class="i2">UNIVERSITY OF CALIFORNIA, Berkeley, Cal.</p> +</div> +<div class="stanza"> +<p>ALCÉE FORTIER, LIT.D.,</p> +<p class="i2">Professor of the Romance Languages,</p> +<p class="i2">TULANE UNIVERSITY, New Orleans, La.</p> +</div> +<div class="stanza"> +<p>WILLIAM P. TRENT, M.A.,</p> +<p class="i2">Dean of the Department of Arts and Sciences, and +Professor of English and History,</p> +<p class="i2">UNIVERSITY OF THE SOUTH, Sewanee, Tenn.</p> +</div> +<div class="stanza"> +<p>PAUL SHOREY, PH.D.,</p> +<p class="i2">Professor of Greek and Latin Literature,</p> +<p class="i2">UNIVERSITY OF CHICAGO, Chicago, Ill.</p> +</div> +<div class="stanza"> +<p>WILLIAM T. HARRIS, LL.D.,</p> +<p class="i2">United States Commissioner of Education,</p> +<p class="i2">BUREAU OF EDUCATION, Washington, D.C.</p> +</div> +<div class="stanza"> +<p>MAURICE FRANCIS EGAN, A.M., LL.D.,</p> +<p class="i2">Professor of Literature in the</p> +<p class="i2">CATHOLIC UNIVERSITY OF AMERICA, Washington, D.C.</p> +</div> +</div> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<h2>TABLE OF CONTENTS</h2> +<br> +<h3>VOL. IV.</h3> +<div class="poem"> +<div class="stanza"> +<p><a href="#BANCROFT">GEORGE BANCROFT</a>--<i>Continued</i>: -- +1800-1891</p> +<p class="i2"><a href="#BANCROFT">Wolfe on the Plains of +Abraham</a> ('History of the United States')</p> +<p class="i2"><a href="#BANCROFT_01">Lexington</a> (same)</p> +<p class="i2"><a href="#BANCROFT_02">Washington</a> (same)</p> +</div> +<div class="stanza"> +<p><a href="#BANIM">JOHN AND MICHAEL BANIM</a> -- 1798-1874</p> +<p class="i2"><a href="#BANIM_01">The Publican's Dream</a> ('The +Bit of Writin'')</p> +<p class="i2"><a href="#BANIM_02">Ailleen</a></p> +<p class="i2"><a href="#BANIM_03">Soggarth Aroon</a></p> +<p class="i2"><a href="#BANIM_04">Irish Maiden's Song</a></p> +</div> +<div class="stanza"> +<p><a href="#BANVILLE">THÉODORE DE BANVILLE</a> -- +1823--1891</p> +<p class="i2"><a href="#BANVILLE_01">Le Café</a> ('The Soul +of Paris')</p> +<p class="i2"><a href="#BANVILLE_02">The Mysterious Hosts of the +Forests</a> ('The Caryatids': Lang's Translation)</p> +<p class="i2"><a href="#BANVILLE_03">Aux Enfants Perdus: Lang's +Translation</a></p> +<p class="i2"><a href="#BANVILLE_04">Ballade des Pendus: Lang's +Translation</a></p> +</div> +<div class="stanza"> +<p><a href="#BARBAULD">ANNA LÆITIA BARBAULD</a> -- +1743-1825</p> +<p class="i2"><a href="#BARBAULD_01">Against Inconsistency in Our +Expectations</a></p> +<p class="i2"><a href="#BARBAULD_02">A Dialogue of the Dead</a></p> +<p class="i2"><a href="#BARBAULD_03">Life</a></p> +<p class="i2"><a href="#BARBAULD_04">Praise to God</a></p> +</div> +<div class="stanza"> +<p><a href="#BARCLAY">ALEXANDER BARCLAY</a> -- 1475-1552</p> +<p class="i2"><a href="#BARCLAY_01">The Courtier's Life</a> (Second +Eclogue)</p> +</div> +<div class="stanza"> +<p><a href="#BARHAM">RICHARD HARRIS BARHAM</a> -- 1788-1845</p> +<p class="i2"><a href="#BARHAM_01">As I Laye A-Thynkynge</a></p> +<p class="i2"><a href="#BARHAM_02">The Lay of St. Cuthbert</a></p> +<p class="i2"><a href="#BARHAM_03">A Lay of St. Nicholas</a></p> +</div> +<div class="stanza"> +<p><a href="#BARING">SABINE BARING-GOULD</a> -- 1834-</p> +<p class="i2"><a href="#BARING_01">St. Patrick's Purgatory</a> +('Curious Myths of the Middle Ages')</p> +<p class="i2"><a href="#BARING_02">The Cornish Wreckers</a> ('The +Vicar of Morwenstow')</p> +</div> +<div class="stanza"> +<p><a href="#BARLOW1">JANE BARLOW</a> -- 18--</p> +<p class="i2"><a href="#BARLOW1_01">Widow Joyce's Cloak</a> +('Strangers at Lisconnel')</p> +<p class="i2"><a href="#BARLOW1_02">Walled Out</a> ('Bogland +Studies')</p> +</div> +<div class="stanza"> +<p><a href="#BARLOW2">JOEL BARLOW</a> -- 1754-1812</p> +<p class="i2"><a href="#BARLOW2_01">A Feast</a> ('Hasty +Pudding')</p> +</div> +<div class="stanza"> +<p><a href="#BARNES">WILLIAM BARNES</a> -- 1800-1886</p> +<p class="i2"><a href="#BARNES_01">Blackmwore Maidens</a></p> +<p class="i2"><a href="#BARNES_02">May</a></p> +<p class="i2"><a href="#BARNES_03">Milken Time</a></p> +<p class="i2"><a href="#BARNES_04">Jessie Lee</a></p> +<p class="i2"><a href="#BARNES_05">The Turnstile</a></p> +<p class="i2"><a href="#BARNES_06">To the Water-Crowfoot</a></p> +<p class="i2"><a href="#BARNES_07">Zummer an' Winter</a></p> +</div> +<div class="stanza"> +<p><a href="#BARRIE">JAMES MATTHEW BARRIE</a> -- 1860-</p> +<p class="i2"><a href="#BARRIE_01">The Courtin' of T'nowhead's +Bell</a> ('Auld Licht Idylls')</p> +<p class="i2"><a href="#BARRIE_02">Jess Left Alone</a> ('A Window +in Thrums')</p> +<p class="i2"><a href="#BARRIE_03">After the Sermon</a> ('The +Little Minister')</p> +<p class="i2"><a href="#BARRIE_04">The Mutual Discovery</a> +(same)</p> +<p class="i2"><a href="#BARRIE_05">Lost Illusions</a> ('Sentimental +Tommy')</p> +<p class="i2"><a href="#BARRIE_06">Sins of Circumstance</a> +(same)</p> +</div> +<div class="stanza"> +<p><a href="#BASTIAT">FRÉDÉRIC BASTIAT</a> -- +1801-1850</p> +<p class="i2"><a href="#BASTIAT_01">Petition of Manufacturers of +Artificial Light</a></p> +<p class="i2"><a href="#BASTIAT_02">Stulta and Puera</a></p> +<p class="i2"><a href="#BASTIAT_03">Inapplicable Terms</a> +('Economic Sophisms')</p> +</div> +<div class="stanza"> +<p><a href="#BAUDELAIRE">CHARLES BAUDELAIRE</a> (by Grace King) -- +1821-1867</p> +<p class="i2"><a href="#BAUDELAIRE_01">Meditation</a></p> +<p class="i2"><a href="#BAUDELAIRE_02">Death of the Poor</a></p> +<p class="i2"><a href="#BAUDELAIRE_03">Music</a></p> +<p class="i2"><a href="#BAUDELAIRE_04">The Broken Bell</a></p> +<p class="i2"><a href="#BAUDELAIRE_05">The Enemy</a></p> +<p class="i2"><a href="#BAUDELAIRE_06">Beauty</a></p> +<p class="i2"><a href="#BAUDELAIRE_07">Death</a></p> +<p class="i2"><a href="#BAUDELAIRE_08">The Painter of Modern +Life</a> ('L'Art Romantique')</p> +<p class="i2"><a href="#BAUDELAIRE_09">Modernness</a></p> +<p class="i2">From 'Little Poems in Prose': <a href= +"#BAUDELAIRE_10">Every One His Own Chimera</a>; <a href= +"#BAUDELAIRE_11">Humanity</a>; <a href= +"#BAUDELAIRE_12">Windows</a>; <a href= +"#BAUDELAIRE_13">Drink</a></p> +<p class="i2"><a href="#BAUDELAIRE_14">From a Journal</a></p> +</div> +<div class="stanza"> +<p><a href="#BEACONSFIELD">LORD BEACONSFIELD</a> (by Isa Carrington +Cabell) -- 1804-1881</p> +<p class="i2"><a href="#BEACONSFIELD_01">A Day at Ems</a> ('Vivian +Grey')</p> +<p class="i2"><a href="#BEACONSFIELD_02">The Festa in the +Alhambra</a> ('The Young Duke')</p> +<p class="i2">Squibs from 'The Young Duke': <a href= +"#BEACONSFIELD_03">Charles Annesley</a>; <a href= +"#BEACONSFIELD_04">The Fussy Hostess</a>; <a href= +"#BEACONSFIELD_05">Public Speaking</a>; <a href= +"#BEACONSFIELD_06">Female Beauty</a></p> +<p class="i2"><a href="#BEACONSFIELD_07">Lothair in Palestine</a> +('Lothair')</p> +</div> +<div class="stanza"> +<p><a href="#BEAUMARCHAIS">BEAUMARCHAIS</a> -- 1732-1799</p> +<p class="i2"><a href="#BEAUMARCHAIS_01">Outwitting a Guardian</a> +('The Barber of Seville')</p> +<p class="i2"><a href="#BEAUMARCHAIS_02">Outwitting a Husband</a> +('The Marriage of Figaro')</p> +</div> +<div class="stanza"> +<p><a href="#BEAUMONT">FRANCIS BEAUMONT AND JOHN FLETCHER</a> -- +1584-1625</p> +<p class="i2"><a href="#BEAUMONT_01">The Faithful +Shepherdess</a></p> +<p class="i2"><a href="#BEAUMONT_02">Song</a></p> +<p class="i2"><a href="#BEAUMONT_03">Song</a></p> +<p class="i2"><a href="#BEAUMONT_04">Aspatia's Song</a></p> +<p class="i2"><a href="#BEAUMONT_05">Leandro's Song</a></p> +<p class="i2"><a href="#BEAUMONT_06">True Beauty</a></p> +<p class="i2"><a href="#BEAUMONT_07">Ode to Melancholy</a></p> +<p class="i2"><a href="#BEAUMONT_08">To Ben Jonson, on His +'Fox'</a></p> +<p class="i2"><a href="#BEAUMONT_09">On the Tombs in +Westminster</a></p> +<p class="i2"><a href="#BEAUMONT_10">Arethusa's Declaration</a> +('Philaster')</p> +<p class="i2"><a href="#BEAUMONT_11">The Story of Bellario</a> +(same)</p> +<p class="i2"><a href="#BEAUMONT_12">Evadne's Confession</a> ('The +Maid's Tragedy')</p> +<p class="i2"><a href="#BEAUMONT_13">Death of the Boy Hengo</a> +('Bonduca')</p> +<p class="i2"><a href="#BEAUMONT_14">From 'The Two Noble +Kinsmen'</a></p> +</div> +<div class="stanza"> +<p><a href="#BECKFORD">WILLIAM BECKFORD</a> -- 1759-1844</p> +<p class="i2"><a href="#BECKFORD_01">The Incantation and the +Sacrifice</a> ('Vathek')</p> +<p class="i2"><a href="#BECKFORD_02">Vathek and Nouronihar in the +Halls of Eblis</a> (same)</p> +</div> +<div class="stanza"> +<p><a href="#BEECHER">HENRY WARD BEECHER</a> -- 1813-1887</p> +<p class="i2"><a href="#BEECHER_01">Book-Stores and Books</a> +('Star Papers')</p> +<p class="i2"><a href="#BEECHER_02">Selected Paragraphs</a></p> +<p class="i2"><a href="#BEECHER_03">Sermon: Poverty and the +Gospel</a></p> +<p class="i2"><a href="#BEECHER_04">A New England Sunday</a> +('Norwood')</p> +</div> +<div class="stanza"> +<p><a href="#BEETHOVEN">LUDWIG VAN BEETHOVEN</a> (by Irenæus +Stevenson) -- 1770-1827</p> +<p class="i2">Letters: <a href="#BEETHOVEN_01">To Dr. Wegeler</a>; +<a href="#BEETHOVEN_02">To the Same</a>; <a href="#BEETHOVEN_03">To +Bettina Brentano</a>;</p> +<p class="i3"><a href="#BEETHOVEN_04">To Countess Giulietta +Guicciardi</a>; <a href="#BEETHOVEN_05">To the Same</a>; <a href= +"#BEETHOVEN_06">To His Brothers</a>;</p> +<p class="i3"><a href="#BEETHOVEN_07">To the Royal and Imperial +High Court of Appeal</a>; <a href="#BEETHOVEN_08">To Baroness von +Drossdick</a>;</p> +<p class="i3"><a href="#BEETHOVEN_09">To Zmeskall</a>; <a href= +"#BEETHOVEN_10">To the Same</a>; <a href="#BEETHOVEN_11">To His +Brother Johann</a>; <a href="#BEETHOVEN_12">To Stephan v. +Breuning</a></p> +</div> +<div class="stanza"> +<p><a href="#BELLMAN">CARL MICHAEL BELLMAN</a> (by Olga Flinch) -- +1740-1795</p> +<p class="i2"><a href="#BELLMAN_01">To Ulla</a></p> +<p class="i2"><a href="#BELLMAN_02">Cradle-Song for My Son +Carl</a></p> +<p class="i2"><a href="#BELLMAN_03">Amaryllis</a></p> +<p class="i2"><a href="#BELLMAN_04">Art and Politics</a></p> +<p class="i2"><a href="#BELLMAN_05">Drink Out Thy Glass</a></p> +</div> +<div class="stanza"> +<p><a href="#BENTHAM">JEREMY BENTHAM</a> -- 1748-1832</p> +<p class="i2"><a href="#BENTHAM_01">Of the Principle of Utility</a> +('An Introduction to the Principles of Morals snd Legislation')</p> +<p class="i2"><a href="#BENTHAM_02">Reminiscences of +Childhood</a></p> +<p class="i2"><a href="#BENTHAM_03">Letter to George Wilson</a> +(1781)</p> +<p class="i2"><a href="#BENTHAM_04">Fragment of a Letter to Lord +Lansdowne</a> (1790)</p> +</div> +<div class="stanza"> +<p><a href="#BERANGER">JEAN-PIERRE DE BÉRANGER</a> (by +Alcée Fortier) -- 1780-1857</p> +<p class="i2"><a href="#BERANGER_01">From 'The Gipsies'</a></p> +<p class="i2"><a href="#BERANGER_02">The Gad-Fly</a></p> +<p class="i2"><a href="#BERANGER_03">Draw It Mild</a></p> +<p class="i2"><a href="#BERANGER_04">The King of Yvetot</a></p> +<p class="i2"><a href="#BERANGER_05">Fortune</a></p> +<p class="i2"><a href="#BERANGER_06">The People's +Reminiscences</a></p> +<p class="i2"><a href="#BERANGER_07">The Old Tramp</a></p> +<p class="i2"><a href="#BERANGER_08">Fifty Years</a></p> +<p class="i2"><a href="#BERANGER_09">The Garret</a></p> +<p class="i2"><a href="#BERANGER_10">My Tomb</a></p> +<p class="i2"><a href="#BERANGER_11">From His Preface to His +Collected Poems</a></p> +</div> +<div class="stanza"> +<p><a href="#BERKELEY">GEORGE BERKELEY</a> -- 1685-1753</p> +<p class="i2"><a href="#BERKELEY_01">On the Prospect of Planting +Arts and Learning in America</a></p> +<p class="i2"><a href="#BERKELEY_02">Essay on Tar-Water</a> +('Siris')</p> +</div> +<div class="stanza"> +<p><a href="#BERLIOZ">HECTOR BERLIOZ</a> -- 1803-1869</p> +<p class="i2"><a href="#BERLIOZ_01">The Italian Race as Musicians +and Auditors</a> ('Autobiography')</p> +<p class="i2"><a href="#BERLIOZ_02">The Famous "K Snuff-Box +Treachery"</a> (same)</p> +<p class="i2"><a href="#BERLIOZ_03">On Gluck</a> (same)</p> +<p class="i2"><a href="#BERLIOZ_04">On Bach</a> (same)</p> +<p class="i2"><a href="#BERLIOZ_05">Music as an Aristocratic +Art</a> (same)</p> +<p class="i2"><a href="#BERLIOZ_06">Beginning of a "Grand +Passion"</a> (same)</p> +<p class="i2"><a href="#BERLIOZ_07">On Theatrical Managers in +Relation to Art</a></p> +</div> +<div class="stanza"> +<p><a href="#BERNARD">SAINT BERNARD OF CLAIRVAUX</a> -- +1091-1153</p> +<p class="i2"><a href="#BERNARD_01">Saint Bernard's Hymn</a></p> +<p class="i2"><a href="#BERNARD_02">Monastic Luxury</a> (Apology to +the Abbot William of St. Thierry)</p> +<p class="i2"><a href="#BERNARD_03">From His Sermon on the Death of +Gerard</a></p> +</div> +<div class="stanza"> +<p><a href="#BERNARD2">BERNARD OF CLUNY</a> (by William C. Prime) +-- Twelfth Century</p> +<p class="i2"><a href="#BERNARD2_01">Brief Life Is Here Our +Portion</a></p> +</div> +<div class="stanza"> +<p><a href="#BERNERS">JULIANA BERNERS</a> -- Fifteenth Century</p> +<p class="i2"><a href="#BERNERS_01">The Treatyse of Fyssbynge with +an Angle</a></p> +</div> +<div class="stanza"> +<p><a href="#BESANT">WALTER BESANT</a> -- 1838-</p> +<p class="i2"><a href="#BESANT_01">Old-Time London</a> +('London')</p> +<p class="i2"><a href="#BESANT_02">The Synagogue</a> ('The Rebel +Queen')</p> +</div> +<div class="stanza"> +<p><a href="#BESTIARIES">BESTIARIES AND LAPIDARIES</a> (by L. Oscar +Kuhns)</p> +<p class="i2"><a href="#BESTIARIES_01">The Lion</a></p> +<p class="i2"><a href="#BESTIARIES_02">The Pelican</a></p> +<p class="i2"><a href="#BESTIARIES_03">The Eagle</a></p> +<p class="i2"><a href="#BESTIARIES_04">The Phoenix</a></p> +<p class="i2"><a href="#BESTIARIES_05">The Ant</a></p> +<p class="i2"><a href="#BESTIARIES_06">The Siren</a></p> +<p class="i2"><a href="#BESTIARIES_07">The Whale</a></p> +<p class="i2"><a href="#BESTIARIES_08">The Crocodile</a></p> +<p class="i2"><a href="#BESTIARIES_09">The Turtle-Dove</a></p> +<p class="i2"><a href="#BESTIARIES_10">The Mandragora</a></p> +<p class="i2"><a href="#BESTIARIES_11">Sapphire</a></p> +<p class="i2"><a href="#BESTIARIES_12">Coral</a></p> +</div> +<div class="stanza"> +<p><a href="#BEYLE">MARIE-HENRI BEYLE (Stendhal)</a> (by Frederic +Taber Cooper) -- 1783-1842</p> +<p class="i2"><a href="#BEYLE_01">Princess Sanseverina's +Interview</a> ('Chartreuse de Parme')</p> +<p class="i2"><a href="#BEYLE_02">Clélia Aids Fabrice to +Escape</a> (same)</p> +</div> +<div class="stanza"> +<p><a href="#BILDERDIJK">WlLLEM BlLDERDIJK</a> -- 1756-1831</p> +<p class="i2"><a href="#BILDERDIJK_01">Ode to Beauty</a></p> +<p class="i2"><a href="#BILDERDIJK_02">From the 'Ode to +Napoleon'</a></p> +<p class="i2"><a href="#BILDERDIJK_03">Slighted Love</a></p> +<p class="i2"><a href="#BILDERDIJK_04">The Village Schoolmaster</a> +('Country Life')</p> +</div> +<div class="stanza"> +<p><a href="#BION">BION</a> -- Second Century B.C.</p> +<p class="i2"><a href="#BION_01">Threnody</a></p> +<p class="i2"><a href="#BION_02">Hesper</a></p> +</div> +<div class="stanza"> +<p><a href="#BIRRELL">AUGUSTINE BIRRELL</a> -- 1850-</p> +<p class="i2"><a href="#BIRRELL_01">Dr. Johnson</a> ('Obiter +Dicta')</p> +<p class="i2"><a href="#BIRRELL_02">The Office of Literature</a> +(same)</p> +<p class="i2"><a href="#BIRRELL_03">Truth-Hunting</a> (same)</p> +<p class="i2"><a href="#BIRRELL_04">Benvenuto Cellini</a> +(same)</p> +<p class="i2"><a href="#BIRRELL_05">On the Alleged Obscurity of Mr. +Browning's Poetry</a> (same)</p> +</div> +</div> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<h2>FULL-PAGE ILLUSTRATIONS</h2> +<h2>VOLUME IV.</h2> +<br> +<center> +<table summary=""> +<tr> +<td>Egyptian Hieroglyphics (Colored Plate)</td> +<td>Frontispiece</td> +</tr> +<tr> +<td><a href="#illus-1473.jpg">"The Irish Maiden's Song" +(Photogravure)</a></td> +<td><a href="#illus-1473.jpg">1473</a></td> +</tr> +<tr> +<td><a href="#illus-1567.jpg">"Milking Time" +(Photogravure)</a></td> +<td><a href="#illus-1567.jpg">1567</a></td> +</tr> +<tr> +<td><a href="#illus-1625.jpg">"Music" (Photogravure)</a></td> +<td><a href="#illus-1625.jpg">1625</a></td> +</tr> +<tr> +<td><a href="#illus-1714.jpg">Henry Ward Beecher +(Portrait)</a></td> +<td><a href="#illus-1714.jpg">1714</a></td> +</tr> +<tr> +<td><a href="#illus-1750.jpg">"Beethoven" (Photogravure)</a></td> +<td><a href="#illus-1750.jpg">1750</a></td> +</tr> +<tr> +<td><a href="#illus-1784.jpg">Jean-Pierre de Béranger +(Portrait)</a></td> +<td><a href="#illus-1784.jpg">1784</a></td> +</tr> +<tr> +<td><a href="#illus-1824.jpg">"Monastic Luxury" +(Photogravure)</a></td> +<td><a href="#illus-1824.jpg">1824</a></td> +</tr> +</table> +</center> +<br> +<br> +<center>VIGNETTE PORTRAITS</center> +<br> +<center><a href="#BANIM">John Banim</a><br> +<a href="#BANVILLE">Théodore de Banville</a><br> +<a href="#BARBAULD">Anna Lætitia Barbauld</a><br> +<a href="#BARHAM">Richard Harris Barham</a><br> +<a href="#BARLOW1">Jane Barlow</a><br> +<a href="#BARLOW2">Joel Barlow</a><br> +<a href="#BARRIE">James Matthew Barrie</a><br> +<a href="#BASTIAT">Frédéric Bastiat</a><br> +<a href="#BAUDELAIRE">Charles Baudelaire</a><br> +<a href="#BEACONSFIELD">Lord Beaconsfield</a><br> +<a href="#BEAUMARCHAIS">Beaumarchai</a>s<br> +<a href="#BEAUMONT">Francis Beaumont</a><br> +<a href="#BECKFORD">William Beckford</a><br> +<a href="#BEETHOVEN">Ludwig van Beethoven</a><br> +<a href="#BENTHAM">Jeremy Bentham</a><br> +<a href="#BERKELEY">George Berkeley</a><br> +<a href="#BERLIOZ">Hector Berlioz</a><br> +<a href="#BERNARD">Saint Bernard of Clairvaux</a><br> +<a href="#BERNERS">Juliana Berners</a><br> +<a href="#BESANT">Walter Besant</a><br> +<a href="#BEYLE">Henri Beyle (Stendhal)</a><br> +<a href="#BIRRELL">Augustine Birrell</a></center> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BANCROFT"></a> +<h2>GEORGE BANCROFT (Continued from Volume III)</h2> +<h3>WOLFE ON THE PLAINS OF ABRAHAM</h3> +<center>From 'History of the United States'</center> +<p>But, in the meantime, Wolfe applied himself intently to +reconnoitering the north shore above Quebec. Nature had given him +good eyes, as well as a warmth of temper to follow first +impressions. He himself discovered the cove which now bears his +name, where the bending promontories almost form a basin, with a +very narrow margin, over which the hill rises precipitously. He saw +the path that wound up the steep, though so narrow that two men +could hardly march in it abreast; and he knew, by the number of +tents which he counted on the summit, that the Canadian post which +guarded it could not exceed a hundred. Here he resolved to land his +army by surprise. To mislead the enemy, his troops were kept far +above the town; while Saunders, as if an attack was intended at +Beauport, set Cook, the great mariner, with others, to sound the +water and plant buoys along that shore.</p> +<p>The day and night of the twelfth were employed in preparations. +The autumn evening was bright; and the general, under the clear +starlight, visited his stations, to make his final inspection and +utter his last words of encouragement. As he passed from ship to +ship, he spoke to those in the boat with him of the poet Gray, and +the 'Elegy in a Country Churchyard.' "I," said he, "would prefer +being the author of that poem to the glory of beating the French +to-morrow;" and, while the oars struck the river as it rippled in +the silence of the night air under the flowing tide, he +repeated:--</p> +<div class="poem"> +<div class="stanza"> +<p class="i4">"The boast of heraldry, the pomp of power,</p> +<p class="i5">And all that beauty, all that wealth e'er gave,</p> +<p class="i4">Await alike the inevitable hour--</p> +<p class="i5">The paths of glory lead but to the grave."</p> +</div> +</div> +<p>Every officer knew his appointed duty, when, at one o'clock in +the morning of the thirteenth of September, Wolfe, Monckton, and +Murray, and about half the forces, set off in boats, and, using +neither sail nor oars, glided down with the tide. In three quarters +of an hour the ships followed; and, though the night had become +dark, aided by the rapid current, they reached the cove just in +time to cover the landing. Wolfe and the troops with him leaped on +shore; the light infantry, who found themselves borne by the +current a little below the intrenched path, clambered up the steep +hill, staying themselves by the roots and boughs of the maple and +spruce and ash trees that covered the precipitous declivity, and, +after a little firing, dispersed the picket which guarded the +height; the rest ascended safely by the pathway. A battery of four +guns on the left was abandoned to Colonel Howe. When Townshend's +division disembarked, the English had already gained one of the +roads to Quebec; and, advancing in front of the forest, Wolfe stood +at daybreak with his invincible battalions on the Plains of +Abraham, the battle-field of the Celtic and Saxon races.</p> +<p>"It can be but a small party, come to burn a few houses and +retire," said Montcalm, in amazement as the news reached him in his +intrenchments the other side of the St. Charles; but, obtaining +better information, "Then," he cried, "they have at last got to the +weak side of this miserable garrison; we must give battle and crush +them before mid-day." And, before ten, the two armies, equal in +numbers, each being composed of less than five thousand men, were +ranged in presence of one another for battle. The English, not +easily accessible from intervening shallow ravines and rail fences, +were all regulars, perfect in discipline, terrible in their +fearless enthusiasm, thrilling with pride at their morning's +success, commanded by a man whom they obeyed with confidence and +love. The doomed and devoted Montcalm had what Wolfe had called but +"five weak French battalions," of less than two thousand men, +"mingled with disorderly peasantry," formed on commanding ground. +The French had three little pieces of artillery; the English, one +or two. The two armies cannonaded each other for nearly an hour; +when Montcalm, having summoned De Bougainville to his aid, and +dispatched messenger after messenger for De Vaudreuil, who had +fifteen hundred men at the camp, to come up before he should be +driven from the ground, endeavored to flank the British and crowd +them down the high bank of the river. Wolfe counteracted the +movement by detaching Townshend with Amherst's regiment, and +afterward a part of the Royal Americans, who formed on the left +with a double front.</p> +<p>Waiting no longer for more troops, Montcalm led the French army +impetuously to the attack. The ill-disciplined companies broke by +their precipitation and the unevenness of the ground; and fired by +platoons, without unity. Their adversaries, especially the +Forty-third and the Forty-seventh, where Monckton stood, of which +three men out of four were Americans, received the shock with +calmness; and after having, at Wolfe's command, reserved their fire +till their enemy was within forty yards, their line began a +regular, rapid, and exact discharge of musketry. Montcalm was +present everywhere, braving danger, wounded, but cheering by his +example. The second in command, De Sennezergues, an associate in +glory at Ticonderoga, was killed. The brave but untried Canadians, +flinching from a hot fire in the open field, began to waver; and, +so soon as Wolfe, placing himself at the head of the Twenty-eighth +and the Louisburg grenadiers, charged with bayonets, they +everywhere gave way. Of the English officers, Carleton was wounded; +Barré, who fought near Wolfe, received in the head a ball +which made him blind of one eye, and ultimately of both. Wolfe, +also, as he led the charge, was wounded in the wrist; but still +pressing forward, he received a second ball; and having decided the +day, was struck a third time, and mortally, in the breast. "Support +me," he cried to an officer near him; "let not my brave fellows see +me drop." He was carried to the rear, and they brought him water to +quench his thirst. "They run! they run!" spoke the officer on whom +he leaned. "Who run?" asked Wolfe, as his life was fast ebbing. +"The French," replied the officer, "give way everywhere." "What," +cried the expiring hero, "do they run already? Go, one of you, to +Colonel Burton; bid him march Webb's regiment with all speed to +Charles River to cut off the fugitives." Four days before, he had +looked forward to early death with dismay. "Now, God be praised, I +die happy." These were his words as his spirit escaped in the blaze +of his glory. Night, silence, the rushing tide, veteran discipline, +the sure inspiration of genius, had been his allies; his +battle-field, high over the ocean river, was the grandest theatre +for illustrious deeds; his victory, one of the most momentous in +the annals of mankind, gave to the English tongue and the +institutions of the Germanic race the unexplored and seemingly +infinite West and South. He crowded into a few hours actions that +would have given lustre to length of life; and, filling his day +with greatness, completed it before its noon.</p> +<p class="loc">D. Appleton and Company, New York.</p> +<br> +<br> +<a name="BANCROFT_01"></a> +<center><b>LEXINGTON</b></center> +<br> +<center>From 'History of the United States'</center> +<br> +<p>Day came in all the beauty of an early spring. The trees were +budding; the grass growing rankly a full month before its time; the +bluebird and the robin gladdening the genial season, and calling +forth the beams of the sun which on that morning shone with the +warmth of summer; but distress and horror gathered over the +inhabitants of the peaceful town. There on the green lay in death +the gray-haired and the young; the grassy field was red "with the +innocent blood of their brethren slain," crying unto God for +vengeance from the ground.</p> +<p>Seven of the men of Lexington were killed, nine wounded; a +quarter part of all who stood in arms on the green. These are the +village heroes, who were more than of noble blood, proving by their +spirit that they were of a race divine. They gave their lives in +testimony to the rights of mankind, bequeathing to their country an +assurance of success in the mighty struggle which they began. Their +names are held in grateful remembrance, and the expanding millions +of their countrymen renew and multiply their praise from generation +to generation. They fulfilled their duty not from the accidental +impulse of the moment; their action was the slowly ripened fruit of +Providence and of time. The light that led them on was combined of +rays from the whole history of the race; from the traditions of the +Hebrews in the gray of the world's morning; from the heroes and +sages of republican Greece and Rome; from the example of Him who +died on the cross for the life of humanity; from the religious +creed which proclaimed the divine presence in man, and on this +truth, as in a life-boat, floated the liberties of nations over the +dark flood of the Middle Ages; from the customs of the Germans +transmitted out of their forests to the councils of Saxon England; +from the burning faith and courage of Martin Luther; from trust in +the inevitable universality of God's sovereignty as taught by Paul +of Tarsus and Augustine, through Calvin and the divines of New +England; from the avenging fierceness of the Puritans, who dashed +the mitre on the ruins of the throne; from the bold dissent and +creative self-assertion of the earliest emigrants to Massachusetts; +from the statesmen who made, and the philosophers who expounded, +the revolution of England; from the liberal spirit and analyzing +inquisitiveness of the eighteenth century; from the cloud of +witnesses of all the ages to the reality and the rightfulness of +human freedom. All the centuries bowed themselves from the recesses +of the past to cheer in their sacrifice the lowly men who proved +themselves worthy of their forerunners, and whose children rise up +and call them blessed.</p> +<p>Heedless of his own danger, Samuel Adams, with the voice of a +prophet, exclaimed: "Oh, what a glorious morning is this!" for he +saw his country's independence hastening on, and, like Columbus in +the tempest, knew that the storm did but bear him the more swiftly +toward the undiscovered world.</p> +<p class="loc">D. Appleton and Company, New York.</p> +<br> +<br> +<a name="BANCROFT_02"></a> +<center><b>WASHINGTON</b></center> +<br> +<center>From 'History of the United States'</center> +<br> +<p>Then, on the fifteenth of June, it was voted to appoint a +general. Thomas Johnson, of Maryland, nominated George Washington; +and as he had been brought forward "at the particular request of +the people of New England," he was elected by ballot +unanimously.</p> +<p>Washington was then forty-three years of age. In stature he a +little exceeded six feet; his limbs were sinewy and +well-proportioned; his chest broad; his figure stately, blending +dignity of presence with ease. His robust constitution had been +tried and invigorated by his early life in the wilderness, the +habit of occupation out of doors, and rigid temperance; so that few +equaled him in strength of arm, or power of endurance, or noble +horsemanship. His complexion was florid; his hair dark brown; his +head in its shape perfectly round. His broad nostrils seemed formed +to give expression and escape to scornful anger. His eyebrows were +rayed and finely arched. His dark-blue eyes, which were deeply set, +had an expression of resignation, and an earnestness that was +almost pensiveness. His forehead was sometimes marked with thought, +but never with inquietude; his countenance was mild and pleasing +and full of benignity.</p> +<p>At eleven years old left an orphan to the care of an excellent +but unlettered mother, he grew up without learning. Of arithmetic +and geometry he acquired just knowledge enough to be able to +practice measuring land; but all his instruction at school taught +him not so much as the orthography or rules of grammar of his own +tongue. His culture was altogether his own work, and he was in the +strictest sense a self-made man; yet from his early life he never +seemed uneducated. At sixteen, he went into the wilderness as a +surveyor, and for three years continued the pursuit, where the +forests trained him, in meditative solitude, to freedom and +largeness of mind; and nature revealed to him her obedience to +serene and silent laws. In his intervals from toil, he seemed +always to be attracted to the best men, and to be cherished by +them. Fairfax, his employer, an Oxford scholar, already aged, +became his fast friend. He read little, but with close attention. +Whatever he took in hand he applied himself to with care; and his +papers, which have been preserved, show how he almost imperceptibly +gained the power of writing correctly; always expressing himself +with clearness and directness, often with felicity of language and +grace.</p> +<p>When the frontiers on the west became disturbed, he at nineteen +was commissioned an adjutant-general with the rank of major. At +twenty-one, he went as the envoy of Virginia to the council of +Indian chiefs on the Ohio, and to the French officers near Lake +Erie. Fame waited upon him from his youth; and no one of his colony +was so much spoken of. He conducted the first military expedition +from Virginia that crossed the Alleghanies. Braddock selected him +as an aid, and he was the only man who came out of the disastrous +defeat near the Monongahela, with increased reputation, which +extended to England. The next year, when he was but +four-and-twenty, "the great esteem" in which he was held in +Virginia, and his "real merit," led the lieutenant-governor of +Maryland to request that he might be "commissioned and appointed +second in command" of the army designed to march to the Ohio; and +Shirley, the commander-in-chief, heard the proposal "with great +satisfaction and pleasure," for "he knew no provincial officer upon +the continent to whom he would so readily give that rank as to +Washington." In 1758 he acted under Forbes as a brigadier, and but +for him that general would never have crossed the mountains.</p> +<p>Courage was so natural to him that it was hardly spoken of to +his praise; no one ever at any moment of his life discovered in him +the least shrinking in danger; and he had a hardihood of daring +which escaped notice, because it was so enveloped by superior +calmness and wisdom.</p> +<p>His address was most easy and agreeable; his step firm and +graceful; his air neither grave nor familiar. He was as cheerful as +he was spirited, frank and communicative in the society of friends, +fond of the fox-chase and the dance, often sportive in his letters, +and liked a hearty laugh. "His smile," writes Chastellux, "was +always the smile of benevolence." This joyousness of disposition +remained to the last, though the vastness of his responsibilities +was soon to take from him the right of displaying the impulsive +qualities of his nature, and the weight which he was to bear up was +to overlay and repress his gayety and openness.</p> +<p>His hand was liberal; giving quietly and without observation, as +though he was ashamed of nothing but being discovered in doing +good. He was kindly and compassionate, and of lively sensibility to +the sorrows of others; so that, if his country had only needed a +victim for its relief, he would have willingly offered himself as a +sacrifice. But while he was prodigal of himself, he was considerate +for others; ever parsimonious of the blood of his countrymen.</p> +<p>He was prudent in the management of his private affairs, +purchased rich lands from the Mohawk valley to the flats of the +Kanawha, and improved his fortune by the correctness of his +judgment; but, as a public man, he knew no other aim than the good +of his country, and in the hour of his country's poverty he refused +personal emolument for his service.</p> +<p>His faculties were so well balanced and combined that his +constitution, free from excess, was tempered evenly with all the +elements of activity, and his mind resembled a well-ordered +commonwealth; his passions, which had the intensest vigor, owned +allegiance to reason; and with all the fiery quickness of his +spirit, his impetuous and massive will was held in check by +consummate judgment. He had in his composition a calm, which gave +him in moments of highest excitement the power of self-control, and +enabled him to excel in patience, even when he had most cause for +disgust. Washington was offered a command when there was little to +bring out the unorganized resources of the continent but his own +influence, and authority was connected with the people by the most +frail, most attenuated, scarcely discernible threads; yet, vehement +as was his nature, impassioned as was his courage, he so retained +his ardor that he never failed continuously to exert the attractive +power of that influence, and never exerted it so sharply as to +break its force.</p> +<p>In secrecy he was unsurpassed; but his secrecy had the character +of prudent reserve, not of cunning or concealment. His great +natural power of vigilance had been developed by his life in the +wilderness.</p> +<p>His understanding was lucid, and his judgment accurate; so that +his conduct never betrayed hurry or confusion. No detail was too +minute for his personal inquiry and continued supervision; and at +the same time he comprehended events in their widest aspects and +relations. He never seemed above the object that engaged his +attention, and he was always equal, without an effort, to the +solution of the highest questions, even when there existed no +precedents to guide his decision. In the perfection of the +reflective powers, which he used habitually, he had no peer.</p> +<p>In this way he never drew to himself admiration for the +possession of any one quality in excess, never made in council any +one suggestion that was sublime but impracticable, never in action +took to himself the praise or the blame of undertakings astonishing +in conception, but beyond his means of execution. It was the most +wonderful accomplishment of this man that, placed upon the largest +theatre of events, at the head of the greatest revolution in human +affairs, he never failed to observe all that was possible, and at +the same time to bound his aspirations by that which was +possible.</p> +<p>A slight tinge in his character, perceptible only to the close +observer, revealed the region from which he sprung, and he might be +described as the best specimen of manhood as developed in the +South; but his qualities were so faultlessly proportioned that his +whole country rather claimed him as its choicest representative, +the most complete expression of all its attainments and +aspirations. He studied his country and conformed to it. His +countrymen felt that he was the best type of America, and rejoiced +in it, and were proud of it. They lived in his life, and made his +success and his praise their own.</p> +<p>Profoundly impressed with confidence in God's providence, and +exemplary in his respect for the forms of public worship, no +philosopher of the eighteenth century was more firm in the support +of freedom of religious opinion, none more remote from bigotry; but +belief in God, and trust in his overruling power, formed the +essence of his character. Divine wisdom not only illumines the +spirit, it inspires the will. Washington was a man of action, and +not of theory or words; his creed appears in his life, not in his +professions, which burst from him very rarely, and only at those +great moments of crisis in the fortunes of his country, when earth +and heaven seemed actually to meet, and his emotions became too +intense for suppression; but his whole being was one continued act +of faith in the eternal, intelligent, moral order of the universe. +Integrity was so completely the law of his nature, that a planet +would sooner have shot from its sphere than he have departed from +his uprightness, which was so constant that it often seemed to be +almost impersonal. "His integrity was the most pure, his justice +the most inflexible I have ever known," writes Jefferson; "no +motives of interest or consanguinity, of friendship or hatred, +being able to bias his decision."</p> +<p>They say of Giotto that he introduced goodness into the art of +painting; Washington carried it with him to the camp and the +Cabinet, and established a new criterion of human greatness. The +purity of his will confirmed his fortitude: and as he never +faltered in his faith in virtue, he stood fast by that which he +knew to be just; free from illusions; never dejected by the +apprehension of the difficulties and perils that went before him, +and drawing the promise of success from the justice of his cause. +Hence he was persevering, leaving nothing unfinished; devoid of all +taint of obstinacy in his firmness; seeking and gladly receiving +advice, but immovable in his devotedness to right.</p> +<p>Of a "retiring modesty and habitual reserve," his ambition was +no more than the consciousness of his power, and was subordinate to +his sense of duty; he took the foremost place, for he knew from +inborn magnanimity that it belonged to him, and he dared not +withhold the service required of him; so that, with all his +humility, he was by necessity the first, though never for himself +or for private ends. He loved fame, the approval of coming +generations, the good opinion of his fellow-men of his own time, +and he desired to make his conduct coincide with his wishes; but +not fear of censure, not the prospect of applause could tempt him +to swerve from rectitude, and the praise which he coveted was the +sympathy of that moral sentiment which exists in every human +breast, and goes forth only to the welcome of virtue.</p> +<p>There have been soldiers who have achieved mightier victories in +the field, and made conquests more nearly corresponding to the +boundlessness of selfish ambition; statesmen who have been +connected with more startling upheavals of society: but it is the +greatness of Washington that in public trusts he used power solely +for the public good; that he was the life and moderator and stay of +the most momentous revolution in human affairs; its moving impulse +and its restraining power....</p> +<p>This also is the praise of Washington: that never in the tide of +time has any man lived who had in so great a degree the almost +divine faculty to command the confidence of his fellow-men and rule +the willing. Wherever he became known, in his family, his +neighborhood, his county, his native State, the continent, the +camp, civil life, among the common people, in foreign courts, +throughout the civilized world, and even among the savages, he, +beyond all other men, had the confidence of his kind.</p> +<p class="loc">D. Appleton and Company, New York.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BANIM"></a> +<h2>JOHN AND MICHAEL BANIM</h2> +<h3>(1798-1846) (1796-1874)</h3> +<br> +<p class="par"><img src="images/letter-o.png" width="30%" alt= +""></p> +<p>f the writers who have won esteem by telling the pathetic +stories of their country's people, the names of John and Michael +Banim are ranked among the Irish Gael not lower than that of Sir +Walter Scott among the British Gael. The works of the Banim +brothers continued the same sad and fascinating story of the "mere +Irish" which Maria Edgeworth and Lady Morgan had laid to the hearts +of English readers in the late eighteenth and early nineteenth +century days. The Banim family was one of those which belonged to +the class of "middlemen," people so designated in Ireland who were +neither rich nor poor, but in the fortunate mean. The family home +was in the historic town of Kilkenny, famous alike for its fighting +confederation and its fighting cats. Here Michael was born August +5th, 1796, and John April 3d, 1798. Michael lived to a green old +age, and survived his younger brother John twenty-eight years, less +seventeen days; he died at Booterstown, August 30th, 1874.</p> +<p class="lft"><img src="images/image-022.png" width="45%" alt= +""><br> +<b>John Banim.</b></p> +<p>The first stories of this brotherly collaboration in letters +appeared in 1825 without mark of authorship, as recitals +contributed for instruction and amusement about the hearth-stone of +an Irish household, called 'The O'Hara Family.' The minor chords of +the soft music of the Gaelic English as it fell from the tongues of +Irish lads and lasses, whether in note of sorrow or of sport, had +already begun to touch with winsome tenderness the stolid Saxon +hearts, when that idyl of their country's penal days, 'The Bit o' +Writin',' was sent out from the O'Hara fireside. The almost +instantaneous success and popularity of their first stories +speedily broke down the anonymity of the Banims, and publishers +became eager and gain-giving. About two dozen stories were +published before the death of John, in 1842. The best-known of +them, in addition to the one already mentioned, are 'The Boyne +Water,' 'The Croppy,' and 'Father Connell.'</p> +<p>The fact that during the long survival of Michael no more of the +Banim stories appeared, is sometimes called in as evidence that the +latter had little to do with the writing of the series. Michael and +John, it was well known, had worked lovingly together, and Michael +claimed a part in thirteen of the tales, without excluding his +brother from joint authorship. Exactly what each wrote of the joint +productions has never been known. A single dramatic work of the +Banim brothers has attained to a position in the standard drama, +the play of 'Damon and Pythias,' a free adaptation from an Italian +original, written by John Banim at the instance of Richard Lalor +Shiel. The songs are also attributed to John. It is but just to say +that the great emigration to the United States which absorbed the +Irish during the '40's and '50's depreciated the sale of such works +as those of the Banims to the lowest point, and Michael had good +reason, aside from the loss of his brother's aid, to lay down his +pen. The audience of the Irish story-teller had gone away across +the great western sea. There was nothing to do but sit by the +lonesome hearth and await one's own to-morrow for the voyage of the +greater sea.</p> +<br> +<a name="BANIM_01"></a> +<center><b>THE PUBLICAN'S DREAM</b></center> +<br> +<center>From 'The Bit o' Writin' and Other Tales'</center> +<br> +<p>The fair-day had passed over in a little straggling town in the +southeast of Ireland, and was succeeded by a languor proportioned +to the wild excitement it never failed to create. But of all in the +village, its publicans suffered most under the reaction of great +bustle. Few of their houses appeared open at broad noon; and +some--the envy of their competitors--continued closed even after +that late hour. Of these latter, many were of the very humblest +kind; little cabins, in fact, skirting the outlets of the village, +or standing alone on the roadside a good distance beyond it.</p> +<p>About two o'clock upon the day in question, a house of +"Entertainment for Man and Horse," the very last of the description +noticed to be found between the village and the wild tract of +mountain country adjacent to it, was opened by the proprietress, +who had that moment arisen from bed.</p> +<p>The cabin consisted of only two apartments, and scarce more than +nominally even of two; for the half-plastered wicker and straw +partition, which professed to cut off a sleeping-nook from the +whole area inclosed by the clay walls, was little higher than a +tall man, and moreover chinky and porous in many places. Let the +assumed distinction be here allowed to stand, however, while the +reader casts his eyes around what was sometimes called the kitchen, +sometimes the tap-room, sometimes the "dancing-flure." Forms which +had run by the walls, and planks by way of tables which had been +propped before them, were turned topsy-turvy, and in some instances +broken. Pewter pots and pints, battered and bruised, or squeezed +together and flattened, and fragments of twisted glass tumblers, +lay beside them. The clay floor was scraped with brogue-nails and +indented with the heel of that primitive foot-gear, in token of the +energetic dancing which had lately been performed upon it. In a +corner still appeared (capsized, however) an empty eight-gallon +beer barrel, recently the piper's throne, whence his bag had blown +forth the inspiring storms of jigs and reels, which prompted to +more antics than ever did a bag of the laughing-gas. Among the +yellow turf-ashes of the hearth lay on its side an old blackened +tin kettle, without a spout,--a principal utensil in brewing +scalding water for the manufacture of whisky-punch; and its soft +and yet warm bed was shared by a red cat, who had stolen in from +his own orgies, through some cranny, since day-break. The single +four-paned window of the apartment remained veiled by its rough +shutter, that turned on leather hinges; but down the wide yawning +chimney came sufficient light to reveal the objects here +described.</p> +<p>The proprietress opened her back door. She was a woman of about +forty; of a robust, large-boned figure; with broad, rosy visage, +dark, handsome eyes, and well-cut nose: but inheriting a mouth so +wide as to proclaim her pure aboriginal Irish pedigree. After a +look abroad, to inhale the fresh air, and then a remonstrance +(ending in a kick) with the hungry pig, who ran, squeaking and +grunting, to demand his long-deferred breakfast, she settled her +cap, rubbed down her <i>prauskeen</i> [coarse apron], tucked and +pinned up her skirts behind, and saying in a loud, commanding +voice, as she spoke into the sleeping-chamber, "Get up now at once, +Jer, I bid you," vigorously if not tidily set about putting her +tavern to rights.</p> +<p>During her bustle the dame would stop an instant, and bend her +ear to listen for a stir inside the partition; but at last losing +patience she resumed:--</p> +<p>"Why, then, my heavy hatred on you, Jer Mulcahy, is it gone into +a <i>sauvaun</i> [pleasant drowsiness] you are, over again? or +maybe you stole out of bed, an' put your hand on one o' them ould +good-for-nothing books, that makes you the laziest man that a poor +woman ever had tinder one roof wid her? ay, an' that sent you out +of our dacent shop an' house, in the heart of the town below, an' +banished us here, Jer Mulcahy, to sell drams o' whisky an' pots o' +beer to all the riff-raff o' the counthry-side, instead o' the nate +boots an' shoes you served your honest time to?"</p> +<p>She entered his, or her chamber, rather, hoping that she might +detect him luxuriantly perusing in bed one of the mutilated books, +a love of which (or more truly a love of indolence, thus +manifesting itself) had indeed chiefly caused his downfall in the +world. Her husband, however, really tired after his unusual bodily +efforts of the previous day, only slumbered, as Mrs. Mulcahy had at +first anticipated; and when she had shaken and aroused him, for the +twentieth time that morning, and scolded him until the +spirit-broken blockhead whimpered,--nay, wept, or pretended to +weep,--the dame returned to her household duties.</p> +<p>She did not neglect, however, to keep calling to him every +half-minute, until at last Mr. Jeremiah Mulcahy strode into the +kitchen: a tall, ill-contrived figure, that had once been well +fitted out, but that now wore its old skin, like its old clothes, +very loosely; and those old clothes were a discolored, threadbare, +half-polished kerseymere pair of trousers, and aged superfine black +coat, the last relics of his former Sunday finery,--to which had +recently and incongruously been added a calfskin vest, a pair of +coarse sky-blue peasant's stockings, and a pair of brogues. His +hanging cheeks and lips told, together, his present bad living and +domestic subjection; and an eye that had been blinded by the +smallpox wore neither patch nor band, although in better days it +used to be genteelly hidden from remark,--an assumption of +consequence now deemed incompatible with his altered condition in +society.</p> +<p>"O Cauth! oh, I had such a dhrame," he said, as he made his +appearance.</p> +<p>"An' I'll go bail you had," answered Cauth, "an' when do you +ever go asleep without having one dhrame or another, that pesters +me off o' my legs the livelong day, till the night falls again to +let you have another? Musha, Jer, don't be ever an' always such a +fool; an' never mind the dhrame now, but lend a hand to help me in +the work o' the house. See the pewther there: haive it up, man +alive, an' take it out into the garden, and sit on the big stone in +the sun, an' make it look as well as you can, afther the ill usage +it got last night; come, hurry, Jer--go an' do what I bid you."</p> +<p>He retired in silence to "the garden," a little patch of ground +luxuriant in potatoes and a few cabbages. Mrs. Mulcahy pursued her +work till her own sensations warned her that it was time to prepare +her husband's morning or rather day meal; for by the height of the +sun it should now be many hours past noon. So she put down her pot +of potatoes; and when they were boiled, took out a wooden trencher +full of them, and a mug of sour milk, to Jer, determined not to +summon him from his useful occupation of restoring the pints and +quarts to something of their former shape.</p> +<p>Stepping through the back door, and getting him in view, she +stopped short in silent anger. His back was turned to her, because +of the sun; and while the vessels, huddled about in confusion, +seemed little the better of his latent skill and industry, there he +sat on his favorite round stone, studiously perusing, half aloud to +himself, some idle volume which doubtless he had smuggled into the +garden in his pocket. Laying down her trencher and her mug, Mrs. +Mulcahy stole forward on tiptoe, gained his shoulder without being +heard, snatched the imperfect bundle of soiled pages out of his +hand, and hurled it into a neighbor's cabbage-bed.</p> +<p>Jeremiah complained, in his usual half-crying tone, declaring +that "she never could let him alone, so she couldn't, and he would +rather list for a soger than lade such a life, from year's end to +year's end, so he would."</p> +<p>"Well, an' do then--an' whistle that idle cur off wid you," +pointing to a nondescript puppy, which had lain happily coiled up +at his master's feet until Mrs. Mulcahy's appearance, but that now +watched her closely, his ears half cocked and his eyes wide open, +though his position remained unaltered. "Go along to the divil, you +lazy whelp you!"--she took up a pint in which a few drops of beer +remained since the previous night, and drained it on the puppy's +head, who instantly ran off, jumping sideways, and yelping as loud +as if some bodily injury had really visited him--"Yes, an' now you +begin to yowl, like your masther, for nothing at all, only because +a body axes you to stir your idle legs--hould your tongue, you +foolish baste!" she stooped for a stone--"one would think I scalded +you."</p> +<p>"You know you did, once, Cauth, to the backbone; an' small blame +for Shuffle to be afeard o' you ever since," said Jer.</p> +<p>This vindication of his own occasional remonstrances, as well as +of Shuffle's, was founded in truth. When very young, just to keep +him from running against her legs while she was busy over the fire, +Mrs. Mulcahy certainly had emptied a ladleful of boiling +potato-water upon the poor puppy's back; and from that moment it +was only necessary to spill a drop of the coldest possible water, +or of any cold liquid, on any part of his body, and he believed he +was again dreadfully scalded, and ran out of the house screaming in +all the fancied theories of torture.</p> +<p>"Will you ate your good dinner, now, Jer Mulcahy, an' promise to +do something to help me, afther it?--Mother o' Saints!"--thus she +interrupted herself, turning towards the place where she had +deposited the eulogized food--"see that yon unlucky bird! May I +never do an ill turn but there's the pig afther spilling the sweet +milk, an' now shoveling the beautiful white-eyes down her throat at +a mouthful!"</p> +<p>Jer, really afflicted at this scene, promised to work hard the +moment he got his dinner; and his spouse, first procuring a +pitchfork to beat the pig into her sty, prepared a fresh meal for +him, and retired to eat her own in the house, and then to continue +her labor.</p> +<p>In about an hour she thought of paying him another visit of +inspection, when Jeremiah's voice reached her ear, calling out in +disturbed accents, "Cauth! Cauth! <i>a-vourneen!</i> For the love +o' heaven, Cauth! where are you?"</p> +<p>Running to him, she found her husband sitting upright, though +not upon his round stone, amongst the still untouched heap of pots +and pints, his pock-marked face very pale, his single eye staring, +his hands clasped and shaking, and moisture on his forehead.</p> +<p>"What!" she cried, "the pewther just as I left it, over +again!"</p> +<p>"O Cauth! Cauth! don't mind that now--but spake to me kind, +Cauth, an' comfort me."</p> +<p>"Why, what ails you, Jer <i>a-vous neen</i>?" affectionately +taking his hand, when she saw how really agitated he was.</p> +<p>"O Cauth, oh, I had such a dhrame, now, in earnest, at any +rate!"</p> +<p>"A dhrame!" she repeated, letting go his hand, "a dhrame, Jer +Mulcahy! so, afther your good dinner, you go for to fall asleep, +Jer Mulcahy, just to be ready wid a new dhrame for me, instead of +the work you came out here to do, five blessed hours ago!"</p> +<p>"Don't scould me, now, Cauth; don't, a-pet: only listen to me, +an' then say what you like. You know the lonesome little glen +between the hills, on the short cut for man or horse, to +Kilbroggan? Well, Cauth, there I found myself in the dhrame; and I +saw two sailors, tired afther a day's hard walking, sitting before +one of the big rocks that stand upright in the wild place; an' they +were ating or dhrinking, I couldn't make out which; and one was a +tall, sthrong, broad-shouldhered man, an' the other was sthrong, +too, but short an' burly; an' while they were talking very civilly +to each other, lo an' behould you, Cauth, I seen the tall man whip +his knife into the little man; an' then they both sthruggled, an' +wrastled, an' schreeched together, till the rocks rung again; but +at last the little man was a corpse; an' may I never see a sight o' +glory, Cauth, but all this was afore me as plain as you are, in +this garden! an' since the hour I was born, Cauth, I never got such +a fright; an'--oh, Cauth! what's that now?"</p> +<p>"What is it, you poor fool, you, but a customer, come at last +into the kitchen--an' time for us to see the face o' one this +blessed day. Get up out o' that, wid your dhrames--don't you hear +'em knocking? I'll stay here to put one vessel at laste to +rights--for I see I must."</p> +<p>Jeremiah arose, groaning, and entered the cabin through the back +door. In a few seconds he hastened to his wife, more +terror-stricken than he had left her, and settling his loins +against the low garden wall, stared at her.</p> +<p>"Why, then, duoul's in you, Jer Mulcahy (saints forgive me for +cursing!)--and what's the matter wid you, at-all at-all?"</p> +<p>"They're in the kitchen," he whispered.</p> +<p>"Well, an' what will they take?"</p> +<p>"I spoke never a word to them, Cauth, nor they to me;--I +couldn't--an' I won't, for a duke's ransom: I only saw them +stannin' together, in the dark that's coming on, behind the dour, +an' I knew them at the first look--the tall one an' the little +one."</p> +<p>With a flout at his dreams, and his cowardice, and his +good-for-nothingness, the dame hurried to serve her customers. +Jeremiah heard her loud voice addressing them, and their hoarse +tones answering. She came out again for two pints to draw some +beer, and commanded him to follow her and "discoorse the +customers." He remained motionless. She returned in a short time, +and fairly drove him before her into the house.</p> +<p>He took a seat remote from his guests, with difficulty +pronouncing the ordinary words of "God save ye, genteels," which +they bluffly and heartily answered. His glances towards them were +also few; yet enough to inform him that they conversed together +like friends, pledging healths and shaking hands. The tall sailor +abruptly asked him how far it was, by the short cut, to a village +where they proposed to pass the night--Kilbroggan?--Jeremiah +started on his seat, and his wife, after a glance and a grumble at +him, was obliged to speak for her husband. They finished their +beer; paid for it; put up half a loaf and a cut of bad watery +cheese, saying that they might feel more hungry a few miles on than +they now did; and then they arose to leave the cabin. Jeremiah +glanced in great trouble around. His wife had fortunately +disappeared; he snatched up his old hat, and with more energy than +he could himself remember, ran forward to be a short way on the +road before them. They soon approached him; and then, obeying a +conscientious impulse, Jeremiah saluted the smaller of the two, and +requested to speak with him apart. The sailor, in evident surprise, +assented. Jer vaguely cautioned him against going any farther that +night, as it would be quite dark by the time he should get to the +mountain pass, on the by-road to Kilbroggan. His warning was made +light of. He grew more earnest, asserting, what was not the fact, +that it was "a bad road," meaning one infested by robbers. Still +the bluff tar paid no attention, and was turning away. "Oh, sir; +oh, stop, sir," resumed Jeremiah, taking great courage, "I have a +thing to tell you;" and he rehearsed his dream, averring that in it +he had distinctly seen the present object of his solicitude set +upon and slain by his colossal companion. The listener paused a +moment; first looking at Jer, and then at the ground, very gravely: +but the next moment he burst into a loud, and Jeremiah thought, +frightful laugh, and walked rapidly to overtake his shipmate. +Jeremiah, much oppressed, returned home.</p> +<p>Towards dawn, next morning, the publican awoke in an ominous +panic, and aroused his wife to listen to a loud knocking, and a +clamor of voices at their door. She insisted that there was no such +thing, and scolded him for disturbing her sleep. A renewal of the +noise, however, convinced even her incredulity, and showed that +Jeremiah was right for the first time in his life, at least. Both +arose, and hastened to answer the summons.</p> +<p>When they unbarred the front door, a gentleman, surrounded by a +crowd of people of the village, stood before it. He had discovered +on the by-road through the hills from Kilbroggan, a dead body, +weltering in its gore, and wearing sailor's clothes; had ridden on +in alarm; had raised the village; and some of its population, +recollecting to have seen Mrs. Mulcahy's visitors of the previous +evening, now brought him to her house to hear what she could say on +the subject.</p> +<p>Before she could say anything, her husband fell senseless at her +side, groaning dolefully. While the bystanders raised him, she +clapped her hands, and exalted her voice in ejaculations, as +Irishwomen, when grieved or astonished or vexed, usually do; and +now, as proud of Jeremiah's dreaming capabilities as she had before +been impatient of them, rehearsed his vision of the murder, and +authenticated the visit of the two sailors to her house, almost +while he was in the act of making her the confidant of his +prophetic ravings. The auditors stept back in consternation, +crossing themselves, smiting their breasts, and crying out, "The +Lord save us! The Lord have mercy upon us!"</p> +<p>Jeremiah slowly awoke from his swoon. The gentleman who had +discovered the body commanded his attendants back to the lonesome +glen, where it lay. Poor Jeremiah fell on his knees, and with tears +streaming down his cheeks, prayed to be saved from such a trial. +His neighbors almost forced him along.</p> +<p>All soon gained the spot, a narrow pass between slanting piles +of displaced rocks; the hills from which they had tumbled rising +brown and barren and to a great height above and beyond them. And +there, indeed, upon the strip of verdure which formed the winding +road through the defile, lay the corpse of one of the sailors who +had visited the publican's house the evening before.</p> +<p>Again Jeremiah dropt on his knees, at some distance from the +body, exclaiming, "Lord save us!--yes! oh, yes, neighbors, this is +the very place!--only--the saints be good to us again!--'twas the +tall sailor I seen killing the little sailor, and here's the tall +sailor murthered by the little sailor."</p> +<p>"Dhrames go by conthraries, some way or another," observed one +of his neighbors; and Jeremiah's puzzle was resolved.</p> +<p>Two steps were now indispensable to be taken; the county coroner +should be summoned, and the murderer sought after. The crowd parted +to engage in both matters simultaneously. Evening drew on when they +again met in the pass: and the first, who had gone for the coroner, +returned with him, a distance of near twenty miles; but the second +party did not prove so successful. In fact they had discovered no +clue to the present retreat of the supposed assassin.</p> +<p>The coroner impaneled his jury, and held his inquest under a +large upright rock, bedded in the middle of the pass, such as +Jeremiah said he had seen in his dream. A verdict of willful murder +against the absent sailor was quickly agreed upon; but ere it could +be recorded, all hesitated, not knowing how to individualize a man +of whose name they were ignorant.</p> +<p>The summer night had fallen upon their deliberations, and the +moon arose in splendor, shining over the top of one of the high +hills that inclosed the pass, so as fully to illumine the bosom of +the other. During their pause, a man appeared standing upon the +line of the hill thus favored by the moonlight, and every eye +turned in that direction. He ran down the abrupt declivity beneath +him; he gained the continued sweep of jumbled rocks which +immediately walled in the little valley, springing from one to +another of them with such agility and certainty that it seemed +almost magical; and a general whisper of fear now attested the fact +of his being dressed in a straw hat, a short jacket, and loose +white trousers. As he jumped from the last rock upon the sward of +the pass, the spectators drew back; but he, not seeming to notice +them, walked up to the corpse, which had not yet been touched; took +its hand; turned up its face into the moonlight, and attentively +regarded the features; let the hand go; pushed his hat upon his +forehead; glanced around him; recognized the person in authority; +approached, and stood still before him, and said "Here I am, Tom +Mills, that killed long Harry Holmes, and there he lies."</p> +<p>The coroner cried out to secure him, now fearing that the man's +sturdiness meant farther harm. "No need," resumed the self-accused; +"here's my bread-and-cheese knife, the only weapon about me;" he +threw it on the ground: "I come back just to ax you, commodore, to +order me a cruise after poor Harry, bless his precious eyes, +wherever he is bound."</p> +<p>"You have been pursued hither?"</p> +<p>"No, bless your heart; but I wouldn't pass such another watch as +the last twenty-four hours for all the prize-money won at +Trafalgar. 'Tisn't in regard of not tasting food or wetting my lips +ever since I fell foul of Harry, or of hiding my head like a cursed +animal o' the yearth, and starting if a bird only hopped nigh me: +but I cannot go on living on this tack no longer; that's it; and +the least I can say to you, Harry, my hearty."</p> +<p>"What caused your quarrel with your comrade?"</p> +<p>"There was no jar or jabber betwixt us, d'you see me."</p> +<p>"Not at the time, I understand you to mean; but surely you must +have long owed him a grudge?"</p> +<p>"No, but long loved him; and he me."</p> +<p>"Then, in heaven's name, what put the dreadful thought in your +head?"</p> +<p>"The devil, commodore, (the horned lubber!) and another lubber +to help him"--pointing at Jeremiah, who shrank to the skirts of the +crowd. "I'll tell you every word of it, commodore, as true as a +log-book. For twenty long and merry years, Harry and I sailed +together, and worked together, thro' a hard gale sometimes, and +thro' hot sun another time; and never a squally word came between +us till last night, and then it all came of that lubberly +swipes-seller, I say again. I thought as how it was a real awful +thing that a strange landsman, before ever he laid eyes on either +of us, should come to have this here dream about us. After falling +in with Harry, when the lubber and I parted company, my old mate +saw I was cast down, and he told me as much in his own gruff, +well-meaning way; upon which I gave him the story, laughing at it. +<i>He</i> didn't laugh in return, but grew glum--glummer than I +ever seed him; and I wondered, and fell to boxing about my +thoughts, more and more (deep sea sink that cursed thinking and +thinking, say I!--it sends many an honest fellow out of his +course); and 'It's hard to know the best man's mind,' I thought to +myself. Well, we came on the tack into these rocky parts, and Harry +says to me all on a sudden, 'Tom, try the soundings here, ahead, by +yourself--or let me, by myself.' I axed him why? 'No matter,' says +Harry again, 'but after what you chawed about, I don't like your +company any farther, till we fall in again at the next village.' +'What, Harry,' I cries, laughing heartier than ever, 'are you +afeard of your own mind with Tom Mills?' 'Pho,' he made answer, +walking on before me, and I followed him.</p> +<p>"'Yes,' I kept saying to myself, 'he <i>is</i> afeard of his own +mind with his old shipmate.' 'Twas a darker night than this, and +when I looked ahead, the devil (for I know 'twas <i>he</i> that +boarded me!) made me take notice what a good spot it was for Harry +to fall foul of me. And then I watched him making way before me, in +the dark, and couldn't help thinking he was the better man of the +two--a head and shoulders over me, and a match for any two of my +inches. And then again, I brought to mind that Harry would be a +heavy purse the better of sending me to Davy's locker, seeing we +had both been just paid off, and got a lot of prize-money to +boot;--and at last (the real red devil having fairly got me helm +a-larboard) I argufied with myself that Tom Mills would be as well +alive, with Harry Holmes's luck in his pocket, as he could be dead, +and <i>his</i> in Harry Holmes's; not to say nothing of taking +one's own part, just to keep one's self afloat, if so be Harry let +his mind run as mine was running.</p> +<p>"All this time Harry never gave me no hail, but kept tacking +through these cursed rocks; and that, and his last words, made me +doubt him more and more. At last he stopped nigh where he now lies, +and sitting with his back to that high stone, he calls for my blade +to cut the bread and cheese he had got at the village; and while he +spoke I believed he looked glummer and glummer, and that he wanted +the blade, the only one between us, for some'at else than to cut +bread and cheese; though now I don't believe no such thing +howsumdever; but then I did: and so, d'you see me, commodore, I +lost ballast all of a sudden, and when he stretched out his hand +for the blade (hell's fire blazing up in my lubberly heart!)--'Here +it is, Harry,' says I, and I gives it to him in the side!--once, +twice, in the right place!" (the sailor's voice, hitherto calm, +though broken and rugged, now rose into a high, wild cadence)--"and +then how we did grapple! and sing out one to another! ahoy! yeho! +aye; till I thought the whole crew of devils answered our hail from +the hill-tops!--But I hit you again and again, Harry! before you +could master me," continued the sailor, returning to the corpse, +and once more taking its hand--"until at last you struck,--my old +messmate!--And now--nothing remains for Tom Mills--but to man the +yard-arm!"</p> +<p>The narrator stood his trial at the ensuing assizes, and was +executed for this avowed murder of his shipmate; Jeremiah appearing +as a principal witness. Our story may seem drawn either from +imagination, or from mere village gossip: its chief acts rest, +however, upon the authority of members of the Irish bar, since +risen to high professional eminence; and they can even vouch that +at least Jeremiah asserted the truth of "The Publican's Dream."</p> +<br> +<br> +<a name="BANIM_02"></a> +<div class="poem"> +<div class="stanza"> +<p class="i6"><b>AILLEEN</b></p> +</div> +<div class="stanza"> +<p class="i4">'Tis not for love of gold I go,</p> +<p class="i5">'Tis not for love of fame;</p> +<p class="i4">Tho' Fortune should her smile bestow,</p> +<p class="i5">And I may win a name,</p> +<p class="i9">Ailleen,</p> +<p class="i5">And I may win a name.</p> +</div> +<div class="stanza"> +<p class="i4">And yet it is for gold I go,</p> +<p class="i5">And yet it is for fame,--</p> +<p class="i4">That they may deck another brow</p> +<p class="i5">And bless another name,</p> +<p class="i9">Ailleen,</p> +<p class="i5">And bless another name.</p> +</div> +<div class="stanza"> +<p class="i4">For this, but this, I go--for this</p> +<p class="i5">I lose thy love awhile;</p> +<p class="i4">And all the soft and quiet bliss</p> +<p class="i5">Of thy young, faithful smile,</p> +<p class="i9">Ailleen,</p> +<p class="i5">Of thy young, faithful smile.</p> +</div> +<div class="stanza"> +<p class="i4">And I go to brave a world I hate</p> +<p class="i5">And woo it o'er and o'er,</p> +<p class="i4">And tempt a wave and try a fate</p> +<p class="i5">Upon a stranger shore,</p> +<p class="i9">Ailleen.</p> +<p class="i5">Upon a stranger shore.</p> +</div> +<div class="stanza"> +<p class="i4">Oh! when the gold is wooed and won,</p> +<p class="i5">I know a heart will care!</p> +<p class="i4">Oh! when the bays are all my own,</p> +<p class="i5">I know a brow shall wear,</p> +<p class="i9">Ailleen,</p> +<p class="i5">I know a brow shall wear.</p> +</div> +<div class="stanza"> +<p class="i4">And when, with both returned again,</p> +<p class="i5">My native land to see,</p> +<p class="i4">I know a smile will meet me there</p> +<p class="i5">And a hand will welcome me,</p> +<p class="i9">Ailleen,</p> +<p class="i5">And a hand will welcome me!</p> +</div> +</div> +<br> +<br> +<a name="BANIM_03"></a> +<div class="poem"> +<div class="stanza"> +<p class="i4"><b>SOGGARTH AROON</b></p> +</div> +<div class="stanza"> +<p class="i5">("O Priest, O Love!")</p> +</div> +<div class="stanza"> +<p>THE IRISH PEASANT'S ADDRESS TO HIS PRIEST</p> +</div> +<div class="stanza"> +<p class="i5">Am I the slave they say,</p> +<p class="i8">Soggarth Aroon?</p> +<p class="i5">Since you did show the way,</p> +<p class="i8">Soggarth Aroon,</p> +<p class="i5">Their slave no more to be,</p> +<p class="i5">While they would work with me</p> +<p class="i5">Ould Ireland's slavery,</p> +<p class="i8">Soggarth Aroon?</p> +</div> +<div class="stanza"> +<p class="i5">Why not her poorest man,</p> +<p class="i8">Soggarth Aroon,</p> +<p class="i5">Try and do all he can,</p> +<p class="i8">Soggarth Aroon,</p> +<p class="i5">Her commands to fulfill</p> +<p class="i5">Of his own heart and will,</p> +<p class="i5">Side by side with you still,</p> +<p class="i8">Soggarth Aroon?</p> +</div> +<div class="stanza"> +<p class="i5">Loyal and brave to you,</p> +<p class="i8">Soggarth Aroon,</p> +<p class="i5">Yet be no slave to you,</p> +<p class="i8">Soggarth Aroon,</p> +<p class="i5">Nor out of fear to you</p> +<p class="i5">Stand up so near to you--</p> +<p class="i5">Och! out of fear to <i>you!</i></p> +<p class="i8">Soggarth Aroon!</p> +</div> +<div class="stanza"> +<p class="i5">Who, in the winter's night,</p> +<p class="i8">Soggarth Aroon,</p> +<p class="i5">When the cowld blast did bite,</p> +<p class="i8">Soggarth Aroon,</p> +<p class="i5">Came to my cabin door,</p> +<p class="i5">And on my earthen floor</p> +<p class="i5">Knelt by me, sick and poor,</p> +<p class="i8">Soggarth Aroon?</p> +</div> +<div class="stanza"> +<p class="i5">Who, on the marriage day,</p> +<p class="i8">Soggarth Aroon,</p> +<p class="i5">Made the poor cabin gay,</p> +<p class="i8">Soggarth Aroon;</p> +<p class="i5">And did both laugh and sing,</p> +<p class="i5">Making our hearts to ring,</p> +<p class="i5">At the poor christening,</p> +<p class="i8">Soggarth Aroon?</p> +</div> +<div class="stanza"> +<p class="i5">Who, as friend only met,</p> +<p class="i8">Soggarth Aroon,</p> +<p class="i5">Never did flout me yet,</p> +<p class="i8">Soggarth Aroon?</p> +<p class="i5">And when my hearth was dim</p> +<p class="i5">Gave, while his eye did brim,</p> +<p class="i5">What I should give to him,</p> +<p class="i8">Soggarth Aroon?</p> +</div> +<div class="stanza"> +<p class="i5">Och! you, and only you,</p> +<p class="i8">Soggarth Aroon!</p> +<p class="i5">And for this I was true to you,</p> +<p class="i8">Soggarth Aroon;</p> +<p class="i5">In love they'll never shake</p> +<p class="i5">When for ould Ireland's sake</p> +<p class="i5">We a true part did take,</p> +<p class="i8">Soggarth Aroon!</p> +</div> +</div> +<br> +<br> +<a name="illus-1473.jpg"></a> +<p class="ctr"><a href="images/illus-1473.jpg"><img src= +"images/illus-1473.jpg" width="45%" alt=""></a><br> +<b>The Irish Maiden's Song.</b><br> +Photogravure from a Painting by E. Hebert.</p> +<br> +<br> +<a name="BANIM_04"></a> +<div class="poem"> +<div class="stanza"> +<p class="i4"><b>THE IRISH MAIDEN'S SONG</b></p> +</div> +<div class="stanza"> +<p class="i4">You know it now--it is betrayed</p> +<p class="i5">This moment in mine eye,</p> +<p class="i4">And in my young cheeks' crimson shade,</p> +<p class="i5">And in my whispered sigh.</p> +<p class="i4">You know it now--yet listen now--</p> +<p class="i5">Though ne'er was love more true,</p> +<p class="i4">My plight and troth and virgin vow</p> +<p class="i5">Still, still I keep from you,</p> +<p class="i9">Ever!</p> +</div> +<div class="stanza"> +<p class="i4">Ever, until a proof you give</p> +<p class="i5">How oft you've heard me say,</p> +<p class="i4">I would not even his empress live</p> +<p class="i5">Who idles life away,</p> +<p class="i4">Without one effort for the land</p> +<p class="i5">In which my fathers' graves</p> +<p class="i4">Were hollowed by a despot hand</p> +<p class="i5">To darkly close on slaves--</p> +<p class="i9">Never!</p> +</div> +<div class="stanza"> +<p class="i4">See! round yourself the shackles hang,</p> +<p class="i5">Yet come you to love's bowers,</p> +<p class="i4">That only he may soothe their pang</p> +<p class="i5">Or hide their links in flowers--</p> +<p class="i4">But try all things to snap them first,</p> +<p class="i5">And should all fail when tried,</p> +<p class="i4">The fated chain you cannot burst</p> +<p class="i5">My twining arms shall hide--</p> +<p class="i9">Ever!</p> +</div> +</div> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BANVILLE"></a> +<h2>THÉODORE DE BANVILLE</h2> +<h3>(1823-1891)</h3> +<br> +<p class="par"><img src="images/letter-t.png" width="30%" alt= +""></p> +<p>héodore Faullain De Banville is best known as a very +skillful maker of polished artificial verse. His poetry stands +high; but it is the poetry not of nature, but of elegant society. +His muse, as Mr. Henley says, is always in evening dress. +References to the classic poets are woven into all of his +descriptions of nature. He is distinguished, scholarly, full of +taste, and brilliant in execution; never failing in propriety, and +never reaching inspiration. As an artist in words and cadences he +has few superiors.</p> +<p class="lft"><img src="images/image-040.png" width="45%" alt= +""><br> +<b>De Banville.</b></p> +<p>These qualities are partly acquired, and partly the result of +birth. Born in 1823, the son of a naval officer, from his earliest +years he devoted himself to literature. His birthplace, Moulins, an +old provincial town on the banks of the Allier, where he spent a +happy childhood, made little impression on him. Still almost a +child he went to Paris, where he led a life without +events,--without even a marriage or an election to the Academy; he +died March 13th, 1891. His place was among the society people and +the artists; the painter Courbet and the writers Mürger, +Baudelaire, and Gautier were among his closest friends. He first +attracted attention in 1848 by the publication of a volume of +verse, 'The Caryatids.' In 1857 came another, 'Odes Funambulesque,' +and later another series under the same title, the two together +containing his best work in verse. Here he stands highest; though +he wrote also many plays, one of which, 'Gringoire,' has been acted +in various translations. 'The Wife of Socrates' also holds the +stage. Like his other work, his drama is artificial, refined, and +skillful. He presents a marked instance of the artist working for +art's sake. During the latter years of his life he wrote mostly +prose, and he has left many well-drawn portraits of his +contemporaries, in addition to several books of criticism, with +much color and charm, but little definiteness. He was always vague, +for facts did not interest him; but he had the power of making his +remote, unreal world attractive, and among the writers of the +school of Gautier he stands among the first.</p> +<br> +<a name="BANVILLE_01"></a> +<center><b>LE CAFÉ</b></center> +<br> +<center>From 'The Soul of Paris'</center> +<br> +<p>Imagine a place where you do not endure the horror of being +alone, and yet have the freedom of solitude. There, free from the +dust, the boredom, the vulgarities of a household, you reflect at +ease, comfortably seated before a table, unincumbered by all the +things that oppress you in houses; for if useless objects and +papers had accumulated here they would have been promptly removed. +You smoke slowly, quietly, like a Turk, following your thoughts +among the blue curves.</p> +<p>If you have a voluptuous desire to taste some warm or refreshing +beverage, well-trained waiters bring it to you immediately. If you +feel like talking with clever men who will not bully you, you have +within reach light sheets on which are printed winged thoughts, +rapid, written for you, which you are not forced to bind and +preserve in a library when they have ceased to please you. This +place, the paradise of civilization, the last and inviolable refuge +of the free man, is the café.</p> +<p>It is the café; but in the ideal, as we dream it, as it +ought to be. The lack of room and the fabulous cost of land on the +boulevards of Paris make it hideous in actuality. In these little +boxes--of which the rent is that of a palace--one would be foolish +to look for the space of a vestiary. Besides, the walls are +decorated with stovepipe hats and overcoats hung on +clothes-pegs--an abominable sight, for which atonement is offered +by multitudes of white panels and ignoble gilding, imitations made +by economical process.</p> +<p>And (let us not deceive ourselves) the overcoat, with which one +never knows what to do, and which makes us worry everywhere,--in +society, at the theatre, at balls,--is the great enemy and the +abominable enslavement of modern life. Happy the gentlemen of the +age of Louis XIV., who in the morning dressed themselves for all +day, in satin and velvet, their brows protected by wigs, and who +remained superb even when beaten by the storm, and who, moreover, +brave as lions, ran the risk of pneumonia even if they had to put +on, one outside the other, the innumerable waistcoats of Jodelet in +'Les Précieuses Ridicules'!</p> +<p>"How shall I find my overcoat and my wife's party cape?" is the +great and only cry, the Hamlet-monologue of the modern man, that +poisons every minute of his life and makes him look with +resignation toward his dying hour. On the morning after a ball +given by Marshal MacMahon nothing is found: the overcoats have +disappeared; the satin cloaks, the boas, the lace scarfs have gone +up in smoke; and the women must rush in despair through the driving +snow while their husbands try to button their evening coats, which +will not button!</p> +<p>One evening, at a party given by the wife of the President of +the Chamber of Deputies, at which the gardens were lighted by +electricity, Gambetta suddenly wished to show some of his guests a +curiosity, and invited them to go down with him into the bushes. A +valet hastened to hand him his overcoat, but the guests did not +dare to ask for theirs, and followed Gambetta as they were! +However, I believe one or two of them survived.</p> +<p>At the café no one carries off your overcoat, no one +hides it; but they are all hung up, spread out on the wall like +masterpieces of art, treated as if they were portraits of Mona Lisa +or Violante, and you have them before your eyes, you see them +continually. Is there not reason to curse the moment your eyes +first saw the light? One may, as I have said, read the papers; or +rather one might read them if they were not hung on those +abominable racks, which remove them a mile from you and force you +to see them on your horizon.</p> +<p>As to the drinks, give up all hope; for the owner of the +café has no proper place for their preparation, and his rent +is so enormous that he has to make the best even of the quality he +sells. But aside from this reason, the drinks could not be good, +because there are too many of them. The last thing one finds at +these coffee-houses is coffee. It is delicious, divine, in those +little Oriental shops where it is made to order for each drinker in +a special little pot. As to syrups, how many are there in Paris? In +what inconceivable place can they keep the jars containing the +fruit juices needed to make them? A few real ladies, rich, +well-born, good housekeepers, not reduced to slavery by the great +shops, who do not rouge or paint their cheeks, still know how to +make in their own homes good syrups from the fruit of their gardens +and their vineyards. But they naturally do not give them away or +sell them to the keepers of cafés, but keep them to gladden +their flaxen-haired children.</p> +<p>Such as it is,--with its failings and its vices, even a full +century after the fame of Procope,--the café, which we +cannot drive out of our memories, has been the asylum and the +refuge of many charming spirits. The old Tabourey, who, after +having been illustrious, now has a sort of half popularity and a +pewter bar, formerly heard the captivating conversations of Barbey +and of Aurevilly, who were rivals in the noblest salons, and who +sometimes preferred to converse seated before a marble table in a +hall from which one could see the foliage and the flowers of the +Luxembourg. Baudelaire also talked there, with his clear caressing +voice dropping diamonds and precious stones, like the princess of +the fairy tale, from beautiful red, somewhat thick lips.</p> +<p>A problem with no possible solution holds in check the writers +and the artists of Paris. When one has worked hard all day it is +pleasant to take a seat, during the short stroll that precedes the +dinner, to meet one's comrades and talk with them of everything but +politics. The only favorable place for these necessary accidental +meetings is the café; but is the game worth the candle, or, +to speak more exactly, the blinding gas-jets? Is it worth while, +for the pleasure of exchanging words, to accept criminal absinthe, +unnatural bitters, tragic vermouth, concocted in the sombre +laboratories of the cafés by frightful parasites?</p> +<p>Aurélien Scholl, who, being a fine poet and excellent +writer, is naturally a practical man, had a pleasing idea. He +wished that the reunions in the cafés might continue at the +absinthe hour, but without the absinthe! A very honest man, chosen +for that purpose, would pour out for the passers-by, in place of +everything else, excellent claret with quinquina, which would have +the double advantage of not poisoning them and of giving them a +wholesome and comforting drink. But this seductive dream could +never be realized. Of course, honest men exist in great numbers, +among keepers of cafés as well as in other walks of life; +but the individual honest man could not be found who would be +willing to pour out quinquina wine in which there was both +quinquina and wine.</p> +<p>In the Palais Royal there used to be a café which had +retained Empire fittings and oil lamps. One found there real wine, +real coffee, real milk, and good beefsteaks. Roqueplan, +Arsène Houssaye, Michel Lévy, and the handsome +Fiorentino used to breakfast there, and they knew how to get the +best mushrooms. The proprietor of the café had said that as +soon as he could no longer make a living by selling genuine +articles, he would not give up his stock in trade to another, but +would sell his furniture and shut up shop. He kept his word. He was +a hero.</p> +<br> +<br> +<a name="BANVILLE_02"></a> +<div class="poem"> +<div class="stanza"> +<p><b>BALLADE ON THE MYSTERIOUS HOSTS OF THE FOREST</b></p> +</div> +<div class="stanza"> +<p class="i9">From 'The Caryatids'</p> +</div> +<div class="stanza"> +<p class="i5">Still sing the mocking fairies, as of old,</p> +<p class="i6">Beneath the shade of thorn and holly-tree;</p> +<p class="i5">The west wind breathes upon them pure and cold,</p> +<p class="i6">And still wolves dread Diana roving free,</p> +<p class="i6">In secret woodland with her company.</p> +<p class="i5">'Tis thought the peasants' hovels know her rite</p> +<p class="i5">When now the wolds are bathed in silver light,</p> +<p class="i6">And first the moonrise breaks the dusky gray;</p> +<p class="i5">Then down the dells, with blown soft hair and +bright,</p> +<p class="i6">And through the dim wood, Dian thrids her way.</p> +</div> +<div class="stanza"> +<p class="i5">With water-weeds twined in their locks of gold</p> +<p class="i6">The strange cold forest-fairies dance in glee;</p> +<p class="i5">Sylphs over-timorous and over-bold</p> +<p class="i6">Haunt the dark hollows where the dwarf may be,</p> +<p class="i6">The wild red dwarf, the nixies' enemy:</p> +<p class="i5">Then, 'mid their mirth and laughter and affright,</p> +<p class="i5">The sudden goddess enters, tall and white,</p> +<p class="i6">With one long sigh for summers passed away;</p> +<p class="i5">The swift feet tear the ivy nets outright,</p> +<p class="i6">And through the dim wood Dian thrids her way.</p> +</div> +<div class="stanza"> +<p class="i5">She gleans her sylvan trophies; down the wold</p> +<p class="i6">She hears the sobbing of the stags that flee,</p> +<p class="i5">Mixed with the music of the hunting rolled,</p> +<p class="i6">But her delight is all in archery,</p> +<p class="i6">And naught of ruth and pity wotteth she</p> +<p class="i5">More than the hounds that follow on the flight;</p> +<p class="i5">The tall nymph draws a golden bow of might,</p> +<p class="i6">And thick she rains the gentle shafts that slay;</p> +<p class="i5">She tosses loose her locks upon the night,</p> +<p class="i6">And through the dim wood Dian thrids her way.</p> +</div> +<div class="stanza"> +<p class="i12">ENVOI</p> +</div> +<div class="stanza"> +<p class="i5">Prince, let us leave the din, the dust, the +spite,</p> +<p class="i5">The gloom and glare of towns, the plague, the +blight;</p> +<p class="i6">Amid the forest leaves and fountain spray</p> +<p class="i5">There is the mystic home of our delight,</p> +<p class="i6">And through the dim wood Dian thrids her way.</p> +</div> +<div class="stanza"> +<p class="i8">Translation of Andrew Lang.</p> +</div> +</div> +<br> +<br> +<a name="BANVILLE_03"></a> +<div class="poem"> +<div class="stanza"> +<p class="i8"><b>AUX ENFANTS PERDUS</b></p> +</div> +<div class="stanza"> +<p class="i5">I know Cythera long is desolate;</p> +<p class="i6">I know the winds have stripped the garden green.</p> +<p class="i5">Alas, my friends! beneath the fierce sun's weight</p> +<p class="i6">A barren reef lies where Love's flowers have +been,</p> +<p class="i6">Nor ever lover on that coast is seen!</p> +<p class="i5">So be it, for we seek a fabled shore,</p> +<p class="i5">To lull our vague desires with mystic lore,</p> +<p class="i6">To wander where Love's labyrinths beguile;</p> +<p class="i5">There let us land, there dream for evermore,</p> +<p class="i6">"It may be we shall touch the happy isle."</p> +</div> +<div class="stanza"> +<p class="i5">The sea may be our sepulchre. If Fate,</p> +<p class="i6">If tempests wreak their wrath on us, serene</p> +<p class="i5">We watch the bolt of Heaven, and scorn the hate</p> +<p class="i6">Of angry gods that smite us in their spleen.</p> +<p class="i6">Perchance the jealous mists are but the screen</p> +<p class="i5">That veils the fairy coast we would explore.</p> +<p class="i5">Come, though the sea be vexed, and breakers roar,</p> +<p class="i6">Come, for the breath of this old world is vile,</p> +<p class="i5">Haste we, and toil, and faint not at the oar;</p> +<p class="i6">"It may be we shall touch the happy isle."</p> +</div> +<div class="stanza"> +<p class="i5">Gray serpents trail in temples desecrate</p> +<p class="i6">Where Cypris smiled, the golden maid, the queen,</p> +<p class="i5">And ruined is the palace of our state;</p> +<p class="i6">But happy loves flit round the mast, and keen</p> +<p class="i6">The shrill winds sings the silken cords between.</p> +<p class="i5">Heroes are we, with wearied hearts and sore,</p> +<p class="i5">Whose flower is faded and whose locks are hoar.</p> +<p class="i6">Haste, ye light skiffs, where myrtle thickets +smile</p> +<p class="i5">Love's panthers sleep 'mid roses, as of yore:</p> +<p class="i6">"It may be we shall touch the happy isle."</p> +</div> +<div class="stanza"> +<p class="i12">ENVOI</p> +</div> +<div class="stanza"> +<p class="i5">Sad eyes! the blue sea laughs as heretofore.</p> +<p class="i5">Ah, singing birds, your happy music pour;</p> +<p class="i6">Ah, poets, leave the sordid earth awhile;</p> +<p class="i5">Flit to these ancient gods we still adore:</p> +<p class="i6">"It may be we shall touch the happy isle."</p> +</div> +<div class="stanza"> +<p class="i8">Translation of Andrew Lang.</p> +</div> +</div> +<br> +<br> +<a name="BANVILLE_04"></a> +<div class="poem"> +<div class="stanza"> +<p class="i8"><b>BALLADE DES PENDUS</b></p> +</div> +<div class="stanza"> +<p class="i6">Where wide the forest bows are spread,</p> +<p class="i7">Where Flora wakes with sylph and fay,</p> +<p class="i6">Are crowns and garlands of men dead,</p> +<p class="i7">All golden in the morning gay;</p> +<p class="i6">Within this ancient garden gray</p> +<p class="i7">Are clusters such as no man knows,</p> +<p class="i6">Where Moor and Soldan bear the sway:</p> +<p class="i7"><i>This is King Louis's orchard close</i>!</p> +</div> +<div class="stanza"> +<p class="i6">These wretched folk wave overhead,</p> +<p class="i7">With such strange thoughts as none may say;</p> +<p class="i6">A moment still, then sudden sped,</p> +<p class="i7">They swing in a ring and waste away.</p> +<p class="i6">The morning smites them with her ray;</p> +<p class="i7">They toss with every breeze that blows,</p> +<p class="i6">They dance where fires of dawning play:</p> +<p class="i7"><i>This is King Louis's orchard close</i>!</p> +</div> +<div class="stanza"> +<p class="i6">All hanged and dead, they've summonèd</p> +<p class="i7">(With Hell to aid, that hears them pray)</p> +<p class="i6">New legions of an army dread.</p> +<p class="i7">Now down the blue sky flames the day;</p> +<p class="i6">The dew dies off; the foul array</p> +<p class="i7">Of obscene ravens gathers and goes,</p> +<p class="i6">With wings that flap and beaks that flay:</p> +<p class="i7"><i>This is King Louis's orchard close</i>!</p> +</div> +<div class="stanza"> +<p class="i12">ENVOI</p> +</div> +<div class="stanza"> +<p class="i6">Prince, where leaves murmur of the May,</p> +<p class="i7">A tree of bitter clusters grows;</p> +<p class="i6">The bodies of men dead are they!</p> +<p class="i7"><i>This is King Louis's orchard close</i>!</p> +</div> +<div class="stanza"> +<p class="i8">Translation of Andrew Lang.</p> +</div> +</div> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BARBAULD"></a> +<h2>ANNA LÆTITIA BARBAULD</h2> +<h3>(1743-1825)</h3> +<br> +<p class="par"><img src="images/letter-w.png" width="30%" alt= +""></p> +<p>hen Lætitia Aikin Barbauld was about thirty years old, her +friend, Mrs. Elizabeth Montague, wishing to establish a college for +women, asked her to be its principal. In her letter of refusal Mrs. +Barbauld said:--"A kind of Academy for ladies, where they are to be +taught in a regular manner the various branches of science, appears +to me better calculated to form such characters as the +<i>Précieuses</i> or <i>Femmes Savantes</i> than good wives +or agreeable companions. The very best way for a woman to acquire +knowledge is from conversation with a father or brother.... The +thefts of knowledge in our sex are only connived at while carefully +concealed, and if displayed are punished with disgrace." It is odd +to find Mrs. Barbauld thus reflecting the old-fashioned view of the +capacity and requirements of her own sex, for she herself belonged +to that brilliant group--Hannah More, Fanny Burney, Maria +Edgeworth, Jane Austen, Joanna Baillie, Mary Russell Mitford--who +were the living refutation of her inherited theories. Their +influence shows a pedagogic impulse to present morally helpful +ideas to the public.</p> +<p class="rgt"><img src="images/image-047.png" width="45%" alt= +""><br> +<b>Anna L. Barbauld.</b></p> +<p>From preceding generations whose lives had been concentrated +upon household affairs, these women pioneers had acquired the +strictly practical bent of mind which comes out in all their verse, +as in all their prose.</p> +<p>The child born at Kibworth Harcourt, Leicestershire, a century +and a half ago, became one of the first of these pleasant writers +for young and old. She was one of the thousand refutations of the +stupid popular idea that precocious children never amount to +anything. When only two, she "could read roundly without spelling, +and in half a year more could read as well as most women." Her +father was master of a boys' school, where her childhood was passed +under the rule of a loving but austere mother, who disliked all +intercourse with the pupils for her daughter. It was not the +fashion for women to be highly educated; but, stimulated perhaps by +the scholastic atmosphere, Lætitia implored her father for a +classical training, until, against his judgment, he allowed her to +study Greek and Latin as well as French and Italian. Though not +fond of the housewifely accomplishments insisted upon by Mrs. +Aikin, the eager student also cooked and sewed with due +obedience.</p> +<p>Her dull childhood ended when she was fifteen, for then her +father accepted a position as classical tutor in a boys' school at +Warrington, Lancashire, to which place the family moved. The new +home afforded greater freedom and an interesting circle of friends, +among them Currie, William Roscoe, John Taylor, and the famous Dr. +Priestley. A very pretty girl, with brilliant blonde coloring and +animated dark-blue eyes, she was witty and vivacious, too, under +the modest diffidence to which she had been trained. Naturally she +attracted much admiration from the schoolboys and even from their +elders, but on the whole she seems to have found study and writing +more interesting than love affairs. The first suitor, who presented +himself when she was about sixteen, was a farmer from her early +home at Kibworth. He stated his wishes to her father. "She is in +the garden," said Mr. Aikin. "You may ask her yourself." +Lætitia was not propitious, but the young man was persistent, +and the position grew irksome. So the nimble girl scrambled into a +convenient tree, and escaped her rustic wooer by swinging herself +down upon the other side of the garden wall.</p> +<p>During these years at Warrington she wrote for her own pleasure, +and when her brother John returned home after several years' +absence, he helped her to arrange and publish a selection of her +poems. The little book which appeared in 1773 was highly praised, +and ran through four editions within a year. In spite of grace and +fluency, most of these verses seem flat and antiquated to the +modern reader. Of the spirited first poem 'Corsica,' Dr. Priestley +wrote to her:--"I consider that you are as much a general as +Tyrtæus was, and your poems (which I am confident are much +better than his ever were) may have as great effect as his. They +may be the <i>coup de grace</i> to the French troops in that +island, and Paoli, who reads English, will cause it to be printed +in every history in that renowned island."</p> +<p>Miss Aikin's next venture was a small volume in collaboration +with her brother, 'Miscellaneous Pieces in Prose by J. and A.L. +Aikin.' This too was widely read and admired. Samuel Rogers has +related an amusing conversation about the book in its first +vogue:--"I am greatly pleased with your 'Miscellaneous Pieces,'" +said Charles James Fox to Mrs. Barbauld's brother. Dr. Aikin bowed. +"I particularly admire," continued Fox, "your essay 'Against +Inconsistency in our Expectations.'" "That," replied Aikin, "is my +sister's." "I like much," continued Fox, "your essay on 'Monastic +Institutions.'" "That," answered Aikin, "is also my sister's." Fox +thought it wise to say no more about the book. The essay 'Against +Inconsistency in our Expectations' was most highly praised by the +critics, and pronounced by Mackintosh "the best short essay in the +language."</p> +<p>When thirty years old, Lætitia Aikin married Rochemont +Barbauld, and went to live at Palgrave in Suffolk, where her +husband opened a boys' school, soon made popular by her personal +charm and influence. Sir William Gell, a classic topographer still +remembered; William Taylor, author of a 'Historic Survey of German +Poetry'; and Lord Chief Justice Denman, were a few among the many +who looked back with gratitude to a childhood under her care.</p> +<p>Perhaps her best known work is the 'Early Lessons for Children,' +which was written during this period. Coming as it did when, as +Hannah More said, there was nothing for children to read between +'Cinderella' and the Spectator, it was largely welcomed, and has +been used by generations of English children. The lessons were +written for a real little Charles, her adopted son, the child of +her brother, Dr. Aikin. For him, too, she wrote her 'Hymns in Prose +for Children,' a book equally successful, which has been translated +into French, German, Spanish, Italian, and even Latin.</p> +<p>After eleven busy years at Palgrave, during which, in spite of +her cheerful energy, Mrs. Barbauld had been much harassed by the +nervous irritability of her invalid husband, the Barbaulds gave up +their school and treated themselves to a year of Continental +travel. On their return they settled at Hampstead, where Mr. +Barbauld became pastor of a small Unitarian congregation. The +nearness to London was a great advantage to Mrs. Barbauld's +refreshed activity, and she soon made the new home a pleasant +rendezvous for literary men and women. At one of her London dinner +parties she met Sir Walter Scott, who declared that her reading of +Taylor's translation of Bürger's 'Lenore' had inspired him to +write poetry. She met Dr. Johnson too, who, though he railed at her +after his fashion, calling her Deborah and Virago Barbauld, did +sometimes betray a sincere admiration for her character and +accomplishments. Miss Edgeworth and Hannah More were dear friends +and regular correspondents.</p> +<p>From time to time she published a poem or an essay; not many, +for in spite of her brother's continual admonition to write, hers +was a somewhat indolent talent. In 1790 she wrote a capable essay +upon the repeal of the Test and Corporation Acts; a year later, a +poetical epistle to Mr. Wilberforce on the Slave Trade; in 1792, a +defense of Public Worship; and in 1793, a discourse as to a Fast +Day upon the Sins of Government.</p> +<p>In 1808 her husband's violent death, the result of a long +insanity, prostrated her for a time. Then as a diversion from +morbid thought she undertook an edition of the best English novels +in fifty volumes, for which she wrote an admirable introductory +essay. She also made a compilation from the Spectator, Tatler, +Guardian, and Free-holder, with a preliminary discourse, which she +published in 1811. It was called 'The Female Speaker,' and intended +for young women. The same year her 'Eighteen Hundred and Eleven,' a +patriotic didactic poem, wounded national self-love and drew upon +her much unfriendly criticism, which so pained her that she would +publish no more. But the stirring lines were widely read, and in +them Macaulay found the original of his famous traveler from New +Zealand, who meditates on the ruined arches of London Bridge. Her +prose style, in its light philosophy, its humorously sympathetic +dealing with every-day affairs, has been often compared with +Addison's.</p> +<p>Her old age was serene and happy, rich in intellectual +companionships and in the love and respect of many friends. +Somewhere she speaks of "that state of middling life to which I +have been accustomed and which I love." She disliked extremes, in +emotion as in all things, and took what came with cheerful courage. +The poem 'Life,' which the self-satisfied Wordsworth wished that he +had written, expresses her serene and philosophic spirit.</p> +<br> +<a name="BARBAULD_01"></a> +<center><b>AGAINST INCONSISTENCY IN OUR EXPECTATIONS</b></center> +<br> +<p>As most of the unhappiness in the world arises rather from +disappointed desires than from positive evil, it is of the utmost +consequence to attain just notions of the laws and order of the +universe, that we may not vex ourselves with fruitless wishes, or +give way to groundless and unreasonable discontent. The laws of +natural philosophy, indeed, are tolerably understood and attended +to; and though we may suffer inconveniences, we are seldom +disappointed in consequence of them. No man expects to preserve +orange-trees in the open air through an English winter; or when he +has planted an acorn, to see it become a large oak in a few months. +The mind of man naturally yields to necessity; and our wishes soon +subside when we see the impossibility of their being gratified.</p> +<p>Now, upon an accurate inspection, we shall find in the moral +government of the world, and the order of the intellectual system, +laws as determinate, fixed, and invariable as any in Newton's +'Principia.' The progress of vegetation is not more certain than +the growth of habit; nor is the power of attraction more clearly +proved than the force of affection or the influence of example. The +man, therefore, who has well studied the operations of nature in +mind as well as matter, will acquire a certain moderation and +equity in his claims upon Providence. He never will be disappointed +either in himself or others. He will act with precision; and expect +that effect and that alone, from his efforts, which they are +naturally adapted to produce.</p> +<p>For want of this, men of merit and integrity often censure the +dispositions of Providence for suffering characters they despise to +run away with advantages which, they yet know, are purchased by +such means as a high and noble spirit could never submit to. If you +refuse to pay the price, why expect the purchase? We should +consider this world as a great mart of commerce, where fortune +exposes to our view various commodities,--riches, ease, +tranquillity, fame, integrity, knowledge. Everything is marked at a +settled price. Our time, our labor, our ingenuity, is so much ready +money which we are to lay out to the best advantage. Examine, +compare, choose, reject; but stand to your own judgment: and do +not, like children, when you have purchased one thing, repine that +you do not possess another which you did not purchase. Such is the +force of well-regulated industry, that a steady and vigorous +exertion of our faculties, directed to one end, will generally +insure success.</p> +<p>Would you, for instance, be rich: Do you think that single point +worth the sacrificing everything else to? You may then be rich. +Thousands have become so from the lowest beginnings, by toil, and +patient diligence, and attention to the minutest article of expense +and profit. But you must give up the pleasures of leisure, of a +vacant mind, of a free, unsuspicious temper. If you preserve your +integrity, it must be a coarse-spun and vulgar honesty. Those high +and lofty notions of morals which you brought with you from the +schools must be considerably lowered, and mixed with the baser +alloy of a jealous and worldly-minded prudence. You must learn to +do hard if not unjust things; and for the nice embarrassments of a +delicate and ingenuous spirit, it is necessary for you to get rid +of them as fast as possible. You must shut your heart against the +Muses, and be content to feed your understanding with plain, +household truths. In short, you must not attempt to enlarge your +ideas, or polish your taste, or refine your sentiments; but must +keep on in one beaten track, without turning aside either to the +right hand or to the left. "But I cannot submit to drudgery like +this: I feel a spirit above it." 'Tis well: be above it then; only +do not repine that you are not rich.</p> +<p>Is knowledge the pearl of price? That too may be purchased--by +steady application, and long solitary hours of study and +reflection. Bestow these, and you shall be wise. "But" (says the +man of letters) "what a hardship is it that many an illiterate +fellow who cannot construe the motto of the arms on his coach, +shall raise a fortune and make a figure, while I have little more +than the common conveniences of life." <i>Et tibi magni +satis</i>!--Was it in order to raise a fortune that you consumed +the sprightly hours of youth in study and retirement? Was it to be +rich that you grew pale over the midnight lamp, and distilled the +sweetness from the Greek and Roman spring? You have then mistaken +your path, and ill employed your industry. "What reward have I then +for all my labors?" What reward! A large, comprehensive soul, well +purged from vulgar fears and perturbations and prejudices; able to +comprehend and interpret the works of man--of God. A rich, +flourishing, cultivated mind, pregnant with inexhaustible stores of +entertainment and reflection. A perpetual spring of fresh ideas; +and the conscious dignity of superior intelligence. Good heaven! +and what reward can you ask besides?</p> +<p>"But is it not some reproach upon the economy of Providence that +such a one, who is a mean, dirty fellow, should have amassed wealth +enough to buy half a nation?" Not in the least. He made himself a +mean, dirty fellow for that very end. He has paid his health, his +conscience, his liberty, for it; and will you envy him his bargain? +Will you hang your head and blush in his presence because he +outshines you in equipage and show? Lift up your brow with a noble +confidence, and say to yourself, I have not these things, it is +true; but it is because I have not sought, because I have not +desired them; it is because I possess something better. I have +chosen my lot. I am content and satisfied.</p> +<p>You are a modest man--you love quiet and independence, and have +a delicacy and reserve in your temper which renders it impossible +for you to elbow your way in the world, and be the herald of your +own merits. Be content then with a modest retirement, with the +esteem of your intimate friends, with the praises of a blameless +heart, and a delicate, ingenuous spirit; but resign the splendid +distinctions of the world to those who can better scramble for +them.</p> +<p>The man whose tender sensibility of conscience and strict regard +to the rules of morality makes him scrupulous and fearful of +offending, is often heard to complain of the disadvantages he lies +under in every path of honor and profit. "Could I but get over some +nice points, and conform to the practice and opinion of those about +me, I might stand as fair a chance as others for dignities and +preferment." And why can you not? What hinders you from discarding +this troublesome scrupulosity of yours which stands so grievously +in your way? If it be a small thing to enjoy a healthful mind, +sound at the very core, that does not shrink from the keenest +inspection; inward freedom from remorse and perturbation; unsullied +whiteness and simplicity of manners; a genuine integrity,</p> +<blockquote>"Pure in the last recesses of the mind;"</blockquote> +<br> +<p>if you think these advantages an inadequate recompense for what +you resign, dismiss your scruples this instant, and be a +slave-merchant, a parasite, or--what you please.</p> +<blockquote>"If these be motives weak, break off +betimes;"</blockquote> +<br> +<p>and as you have not spirit to assert the dignity of virtue, be +wise enough not to forego the emoluments of vice.</p> +<p>I much admire the spirit of the ancient philosophers, in that +they never attempted, as our moralists often do, to lower the tone +of philosophy, and make it consistent with all the indulgences of +indolence and sensuality. They never thought of having the bulk of +mankind for their disciples; but kept themselves as distinct as +possible from a worldly life. They plainly told men what sacrifices +were required, and what advantages they were which might be +expected.</p> +<blockquote>"Si virtus hoc una potest dare, fortis omissis<br> +Hoc age deliciis ..."</blockquote> +<br> +<p>If you would be a philosopher, these are the terms. You must do +thus and thus; there is no other way. If not, go and be one of the +vulgar.</p> +<p>There is no one quality gives so much dignity to a character as +consistency of conduct. Even if a man's pursuits be wrong and +unjustifiable, yet if they are prosecuted with steadiness and +vigor, we cannot withhold our admiration. The most characteristic +mark of a great mind is to choose some one important object, and +pursue it through life. It was this made Cæsar a great man. +His object was ambition: he pursued it steadily; and was always +ready to sacrifice to it every interfering passion or +inclination.</p> +<p>There is a pretty passage in one of Lucian's dialogues, where +Jupiter complains to Cupid that though he has had so many +intrigues, he was never sincerely beloved. In order to be loved, +says Cupid, you must lay aside your aegis and your thunderbolts, +and you must curl and perfume your hair, and place a garland on +your head, and walk with a soft step, and assume a winning, +obsequious deportment. But, replied Jupiter, I am not willing to +resign so much of my dignity. Then, returns Cupid, leave off +desiring to be loved. He wanted to be Jupiter and Adonis at the +same time.</p> +<p>It must be confessed that men of genius are of all others most +inclined to make these unreasonable claims. As their relish for +enjoyment is strong, their views large and comprehensive, and they +feel themselves lifted above the common bulk of mankind, they are +apt to slight that natural reward of praise and admiration which is +ever largely paid to distinguished abilities; and to expect to be +called forth to public notice and favor: without considering that +their talents are commonly very unfit for active life; that their +eccentricity and turn for speculation disqualifies them for the +business of the world, which is best carried on by men of moderate +genius; and that society is not obliged to reward any one who is +not useful to it. The poets have been a very unreasonable race, and +have often complained loudly of the neglect of genius and the +ingratitude of the age. The tender and pensive Cowley, and the +elegant Shenstone, had their minds tinctured by this discontent; +and even the sublime melancholy of Young was too much owing to the +stings of disappointed ambition.</p> +<p>The moderation we have been endeavoring to inculcate will +likewise prevent much mortification and disgust in our commerce +with mankind. As we ought not to wish in ourselves, so neither +should we expect in our friends, contrary qualifications. Young and +sanguine, when we enter the world, and feel our affections drawn +forth by any particular excellence in a character, we immediately +give it credit for all others; and are beyond measure disgusted +when we come to discover, as we soon must discover, the defects in +the other side of the balance. But nature is much more frugal than +to heap together all manner of shining qualities in one glaring +mass. Like a judicious painter, she endeavors to preserve a certain +unity of style and coloring in her pieces. Models of absolute +perfection are only to be met with in romance; where exquisite +beauty, and brilliant wit, and profound judgment, and immaculate +virtue, are all blended together to adorn some favorite character. +As an anatomist knows that the racer cannot have the strength and +muscles of the draught-horse; and that winged men, griffins, and +mermaids must be mere creatures of the imagination: so the +philosopher is sensible that there are combinations of moral +qualities which never can take place but in idea. There is a +different air and complexion in characters as well as in faces, +though perhaps each equally beautiful; and the excellences of one +cannot be transferred to the other. Thus if one man possesses a +stoical apathy of soul, acts independent of the opinion of the +world, and fulfills every duty with mathematical exactness, you +must not expect that man to be greatly influenced by the weakness +of pity, or the partialities of friendship; you must not be +offended that he does not fly to meet you after a short absence, or +require from him the convivial spirit and honest effusions of a +warm, open, susceptible heart. If another is remarkable for a +lively, active zeal, inflexible integrity, a strong indignation +against vice, and freedom in reproving it, he will probably have +some little bluntness in his address not altogether suitable to +polished life; he will want the winning arts of conversation; he +will disgust by a kind of haughtiness and negligence in his manner, +and often hurt the delicacy of his acquaintance with harsh and +disagreeable truths.</p> +<p>We usually say--That man is a genius, but he has some whims and +oddities--Such a one has a very general knowledge, but he is +superficial, etc. Now in all such cases we should speak more +rationally, did we substitute "therefore" for "but": "He is a +genius, therefore he is whimsical" and the like.</p> +<p>It is the fault of the present age, owing to the freer commerce +that different ranks and professions now enjoy with each other, +that characters are not marked with sufficient strength; the +several classes run too much into one another. We have fewer +pedants, it is true, but we have fewer striking originals. Every +one is expected to have such a tincture of general knowledge as is +incompatible with going deep into any science; and such a +conformity to fashionable manners as checks the free workings of +the ruling passion, and gives an insipid sameness to the face of +society, under the idea of polish and regularity.</p> +<p>There is a cast of manners peculiar and becoming to each age, +sex, and profession; one, therefore, should not throw out illiberal +and commonplace censures against another. Each is perfect in its +kind: a woman as a woman; a tradesman as a tradesman. We are often +hurt by the brutality and sluggish conceptions of the vulgar; not +considering that some there must be to be hewers of wood and +drawers of water, and that cultivated genius, or even any great +refinement and delicacy in their moral feelings, would be a real +misfortune to them.</p> +<p>Let us then study the philosophy of the human mind. The man who +is master of this science will know what to expect from every one. +From this man, wise advice; from that, cordial sympathy; from +another, casual entertainment. The passions and inclinations of +others are his tools, which he can use with as much precision as he +would the mechanical powers; and he can as readily make allowance +for the workings of vanity, or the bias of self-interest in his +friends, as for the power of friction, or the irregularities of the +needle.</p> +<br> +<a name="BARBAULD_02"></a> +<center><b>A DIALOGUE OF THE DEAD</b></center> +<br> +<center>BETWEEN HELEN AND MADAME MAINTENON</center> +<br> +<p><i>Helen</i>--Whence comes it, my dear Madame Maintenon, that +beauty, which in the age I lived in produced such extraordinary +effects, has now lost almost all its power?</p> +<p><i>Maintenon</i>--I should wish first to be convinced of the +fact, before I offer to give you a reason for it.</p> +<p><i>Helen</i>--That will be very easy; for there is no occasion +to go any further than our own histories and experience to prove +what I advance. You were beautiful, accomplished, and fortunate; +endowed with every talent and every grace to bend the heart of man +and mold it to your wish; and your schemes were successful; for you +raised yourself from obscurity and dependence to be the wife of a +great monarch.--But what is this to the influence my beauty had +over sovereigns and nations! I occasioned a long ten-years' war +between the most celebrated heroes of antiquity; contending +kingdoms disputed the honor of placing me on their respective +thrones; my story is recorded by the father of verse; and my charms +make a figure even in the annals of mankind. You were, it is true, +the wife of Louis XIV., and respected in his court, but you +occasioned no wars; you are not spoken of in the history of France, +though you furnished materials for the memoirs of a court. Are the +love and admiration that were paid you merely as an amiable woman +to be compared with the enthusiasm I inspired, and the boundless +empire I obtained over all that was celebrated, great, or powerful +in the age I lived in?</p> +<p><i>Maintenon</i>--All this, my dear Helen, has a splendid +appearance, and sounds well in a heroic poem; but you greatly +deceive yourself if you impute it all to your personal merit. Do +you imagine that half the chiefs concerned in the war of Troy were +at all influenced by your beauty, or troubled their heads what +became of you, provided they came off with honor? Believe me, love +had very little to do in the affair: Menelaus sought to revenge the +affront he had received; Agamemnon was flattered with the supreme +command; some came to share the glory, others the plunder; some +because they had bad wives at home, some in hopes of getting Trojan +mistresses abroad; and Homer thought the story extremely proper for +the subject of the best poem in the world. Thus you became famous; +your elopement was made a national quarrel; the animosities of both +nations were kindled by frequent battles; and the object was not +the restoring of Helen to Menelaus, but the destruction of Troy by +the Greeks.--My triumphs, on the other hand, were all owing to +myself, and to the influence of personal merit and charms over the +heart of man. My birth was obscure; my fortunes low; I had past the +bloom of youth, and was advancing to that period at which the +generality of our sex lose all importance with the other; I had to +do with a man of gallantry and intrigue, a monarch who had been +long familiarized with beauty, and accustomed to every refinement +of pleasure which the most splendid court in Europe could afford: +Love and Beauty seemed to have exhausted all their powers of +pleasing for him in vain. Yet this man I captivated, I fixed; and +far from being content, as other beauties had been, with the honor +of possessing his heart, I brought him to make me his wife, and +gained an honorable title to his tenderest affection.--The +infatuation of Paris reflected little honor upon you. A thoughtless +youth, gay, tender, and impressible, struck with your beauty, in +violation of all the most sacred laws of hospitality carries you +off, and obstinately refuses to restore you to your husband. You +seduced Paris from his duty, I recovered Louis from vice; you were +the mistress of the Trojan prince, I was the companion of the +French monarch.</p> +<p><i>Helen</i>--I grant you were the wife of Louis, but not the +Queen of France. Your great object was ambition, and in that you +met with a partial success;--my ruling star was love, and I gave up +everything for it. But tell me, did not I show my influence over +Menelaus in his taking me again after the destruction of Troy?</p> +<p><i>Maintenon</i>--That circumstance alone is sufficient to show +that he did not love you with any delicacy. He took you as a +possession that was restored to him, as a booty that he had +recovered; and he had not sentiment enough to care whether he had +your heart or not. The heroes of your age were capable of admiring +beauty, and often fought for the possession of it; but they had not +refinement enough to be capable of any pure, sentimental attachment +or delicate passion. Was that period the triumph of love and +gallantry, when a fine woman and a tripod were placed together for +prizes at a wrestling-bout, and the tripod esteemed the most +valuable reward of the two? No; it is our Clélia, our +Cassandra and Princess of Cleves, that have polished mankind and +taught them how to love.</p> +<p><i>Helen</i>--Rather say you have lost sight of nature and +passion, between bombast on one hand and conceit on the other. +Shall one of the cold temperament of France teach a Grecian how to +love? Greece, the parent of fair forms and soft desires, the nurse +of poetry, whose soft climate and tempered skies disposed to every +gentler feeling, and tuned the heart to harmony and love!--was +Greece a land of barbarians? But recollect, if you can, an incident +which showed the power of beauty in stronger colors--that when the +grave old counselors of Priam on my appearance were struck with +fond admiration, and could not bring themselves to blame the cause +of a war that had almost ruined their country;--you see I charmed +the old as well as seduced the young.</p> +<p><i>Maintenon</i>--But I, after I was grown old, charmed the +young; I was idolized in a capital where taste, luxury, and +magnificence were at the height; I was celebrated by the greatest +wits of my time, and my letters have been carefully handed down to +posterity.</p> +<p><i>Helen</i>--Tell me now sincerely, were you happy in your +elevated fortune?</p> +<p><i>Maintenon</i>--- Alas! Heaven knows I was far otherwise: a +thousand times did I wish for my dear Scarron again. He was a very +ugly fellow, it is true, and had but little money: but the most +easy, entertaining companion in the world: we danced, laughed, and +sung; I spoke without fear or anxiety, and was sure to please. With +Louis all was gloom, constraint, and a painful solicitude to +please--which seldom produces its effect; the king's temper had +been soured in the latter part of life by frequent disappointments; +and I was forced continually to endeavor to procure him that +cheerfulness which I had not myself. Louis was accustomed to the +most delicate flatteries; and though I had a good share of wit, my +faculties were continually on the stretch to entertain him,--a +state of mind little consistent with happiness or ease; I was +afraid to advance my friends or punish my enemies. My pupils at St. +Cyr were not more secluded from the world in a cloister than I was +in the bosom of the court; a secret disgust and weariness consumed +me. I had no relief but in my work and books of devotion; with +these alone I had a gleam of happiness.</p> +<p><i>Helen</i>--Alas! one need not have married a great monarch +for that.</p> +<p><i>Maintenon</i>--But deign to inform me, Helen, if you were +really as beautiful as fame reports? for to say truth, I cannot in +your shade see the beauty which for nine long years had set the +world in arms.</p> +<p><i>Helen</i>--Honestly, no: I was rather low, and something +sunburnt; but I had the good fortune to please; that was all. I was +greatly obliged to Homer.</p> +<p><i>Maintenon</i>--And did you live tolerably with Menelaus after +all your adventures?</p> +<p><i>Helen</i>--As well as possible. Menelaus was a good-natured +domestic man, and was glad to sit down and end his days in quiet. I +persuaded him that Venus and the Fates were the cause of all my +irregularities, which he complaisantly believed. Besides, I was not +sorry to return home: for to tell you a secret, Paris had been +unfaithful to me long before his death, and was fond of a little +Trojan brunette whose office it was to hold up my train; but it was +thought dishonorable to give me up. I began to think love a very +foolish thing: I became a great housekeeper, worked the battles of +Troy in tapestry, and spun with my maids by the side of Menelaus, +who was so satisfied with my conduct, and behaved, good man, with +so much fondness, that I verily think this was the happiest period +of my life.</p> +<p><i>Maintenon</i>--Nothing more likely; but the most obscure wife +in Greece could rival you there.--Adieu! you have convinced me how +little fame and greatness conduce to happiness.</p> +<br> +<br> +<a name="BARBAULD_03"></a> +<div class="poem"> +<div class="stanza"> +<p class="i9"><b>LIFE</b></p> +</div> +<div class="stanza"> +<p class="i4">Life! I know not what thou art,</p> +<p class="i4">But know that thou and I must part;</p> +<p class="i5">And when or how or where we met,</p> +<p class="i4">I own to me's a secret yet.</p> +<p class="i4">But this I know, when thou art fled,</p> +<p class="i4">Where'er they lay these limbs, this head,</p> +<p class="i4">No clod so valueless shall be,</p> +<p class="i4">As all that then remains of me.</p> +<p class="i4">O whither, whither dost thou fly,</p> +<p class="i4">Where bend unseen thy trackless course,</p> +<p class="i5">And in this strange divorce,</p> +<p class="i4">Ah, tell where I must seek this compound I?</p> +<p class="i4">To the vast ocean of empyreal flame,</p> +<p class="i5">From whence thy essence came,</p> +<p class="i4">Dost thou thy flight pursue, when freed</p> +<p class="i4">From matter's base encumbering weed?</p> +<p class="i5">Or dost thou, hid from sight,</p> +<p class="i5">Wait, like some spell-bound knight,</p> +<p class="i3">Through blank oblivion's years th' appointed +hour,</p> +<p class="i3">To break thy trance and reassume thy power?</p> +<p class="i3">Yet canst thou without thought or feeling be?</p> +<p class="i3">O say what art thou, when no more thou'rt thee?</p> +<p class="i5">Life! we've been long together,</p> +<p class="i4">Through pleasant and through cloudy weather;</p> +<p class="i4">'Tis hard to part when friends are dear;</p> +<p class="i4">Perhaps 'twill cost a sigh, a tear;</p> +<p class="i4">Then steal away, give little warning,</p> +<p class="i7">Choose thine own time;</p> +<p class="i3">Say not good-night, but in some brighter clime</p> +<p class="i7">Bid me good-morning.</p> +</div> +</div> +<br> +<br> +<a name="BARBAULD_04"></a> +<div class="poem"> +<div class="stanza"> +<p class="i7"><b>PRAISE TO GOD</b></p> +</div> +<div class="stanza"> +<p class="i5">Praise to God, immortal praise,</p> +<p class="i5">For the love that crowns our days--</p> +<p class="i5">Bounteous source of every joy,</p> +<p class="i5">Let Thy praise our tongues employ!</p> +</div> +<div class="stanza"> +<p class="i5">For the blessings of the field,</p> +<p class="i5">For the stores the gardens yield,</p> +<p class="i5">For the vine's exalted juice,</p> +<p class="i5">For the generous olive's use;</p> +</div> +<div class="stanza"> +<p class="i5">Flocks that whiten all the plain,</p> +<p class="i5">Yellow sheaves of ripened grain,</p> +<p class="i5">Clouds that drop their fattening dews,</p> +<p class="i5">Suns that temperate warmth diffuse--</p> +</div> +<div class="stanza"> +<p class="i5">All that Spring, with bounteous hand,</p> +<p class="i5">Scatters o'er the smiling land;</p> +<p class="i5">All that liberal Autumn pours</p> +<p class="i5">From her rich o'erflowing stores:</p> +</div> +<div class="stanza"> +<p class="i5">These to Thee, my God, we owe--</p> +<p class="i5">Source whence all our blessings flow!</p> +<p class="i5">And for these my soul shall raise</p> +<p class="i5">Grateful vows and solemn praise.</p> +</div> +<div class="stanza"> +<p class="i5">Yet should rising whirlwinds tear</p> +<p class="i5">From its stem the ripening ear--</p> +<p class="i5">Should the fig-tree's blasted shoot</p> +<p class="i5">Drop her green untimely fruit--</p> +</div> +<div class="stanza"> +<p class="i5">Should the vine put forth no more,</p> +<p class="i5">Nor the olive yield her store--</p> +<p class="i5">Though the sickening flocks should fall,</p> +<p class="i5">And the herds desert the stall--</p> +</div> +<div class="stanza"> +<p class="i5">Should Thine altered hand restrain</p> +<p class="i5">The early and the latter rain,</p> +<p class="i5">Blast each opening bud of joy,</p> +<p class="i5">And the rising year destroy:</p> +</div> +<div class="stanza"> +<p class="i5">Yet to Thee my soul should raise</p> +<p class="i5">Grateful vows and solemn praise,</p> +<p class="i5">And, when every blessing's flown,</p> +<p class="i5">Love Thee--for Thyself alone.</p> +</div> +</div> +<br> +<br> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BARCLAY"></a> +<h2>ALEXANDER BARCLAY</h2> +<h3>(1475-1552)</h3> +<br> +<p class="par"><img src="images/letter-b.png" width="30%" alt= +""></p> +<p>arclay's reputation rests upon his translation of the famous +'Ship of Fools' and his original 'Eclogues.' A controversy as to +the land of his birth--an event which happened about the year +1475--has lasted from his century to our own. The decision in favor +of Scotland rests upon the testimony of two witnesses: first, Dr. +William Bullim, a younger contemporary of Barclay, who mentions him +in 'A Dialogue Both Pleasaunt and Pietifull Wherein is a Godlie +Regement Against the Fever Pestilence with a Consolation and +Comforte Against Death,' which was published in 1564; and secondly, +Barclay himself.</p> +<p>Bullim groups the Muses at the foot of Parnassus, and gathers +about them Greek and Latin poets, and such Englishmen as Chaucer, +Gower, Skelton, and Barclay, the latter "with an hoopyng russet +long coate, with a pretie hood in his necke, and five knottes upon +his girdle, after Francis's tricks. He was borne beyond the cold +river of Twede. He lodged upon a sweetebed of chamomill under the +sinamone-tree: about him many shepherdes and shepe, with pleasaunte +pipes; greatly abhorring the life of Courtiers, Citizens, Usurers, +and Banckruptes, etc., whose daies are miserable. And the estate of +shepherdes and countrie people he accompted moste happie and sure." +Deprived of its poetic fancy, this passage means that Barclay was a +monk of the order of St. Francis, that he was born north of the +Tweed, that his verse was infused with such bitterness and tonic +qualities as camomile possesses, and that he advocated the cause of +the country people in his independent and admirable 'Eclogues,' +another title for the first three of which is 'Miseryes of +Courtiers and Courtes of all Princes in General.'</p> +<p>Barclay was educated at Oxford and Cambridge, and upon his +return to England after several years of residence abroad, he was +made one of the priests of Saint Mary Ottery, an institution of +devout practice and learning in Devonshire. Here in 1508 was +finished 'The Shyp of Folys of the Worlde translated out of Laten, +Frenche, and Doche into Englysshe tonge by Alexander Barclay, +Preste, and at that time chaplen in the sayd College.'</p> +<p>After his work was completed Barclay went to London, where his +poem was "imprentyd ... in Fleet Street at the signe of Saynt +George by Rycharde Pyreson to hys Coste and charge: ended the yere +of our Saviour MDIX. the XIII. day of December." That he became a +Benedictine and lived at the monastery of the order at Ely is +evident from his 'Eclogues.' Here he translated at the instance of +Sir Giles Arlington, Knight, 'The Myrrour of Good Maners,' from a +Latin elegiac poem which Dominic Mancini published in the year +1516.</p> +<p>"It was about this period of his life," says Mr. Jamieson in his +admirable edition of the 'Ship of Fools,' "probably the period of +the full bloom of his popularity, that the quiet life of the poet +and priest was interrupted by the recognition of his eminence in +the highest quarters, and by a request for his aid in maintaining +the honor of the country on an occasion to which the eyes of all +Europe were then directed. In a letter to Wolsey dated 10th April, +1520, Sir Nicholas Vaux--busied with the preparation for that +meeting of Henry VIII and Francis I called the Field of the Cloth +of Gold--begs the Cardinal to send them ... Maistre Barkleye, the +Black Monke and Poete, to devise histoires and convenient raisons +to florisshe the buildings and banquet house withal."</p> +<p>He became a Franciscan, the habit of which order Bullim refers +to; and "sure 'tis," says Wood, "that living to see his monastery +dissolv'd, in 1539, at the general dissolution by act of Henry +VIII, he became vicar of Much Badew in Essex, and in 1546, the same +year, of the Church of St. Matthew the Apostle at Wokey, in +Somersetshire, and finally in 1552, the year in which he died, of +that of All Saints, Lombard Street, London. In his younger days he +was esteemed a good poet and orator, but when years came on, he +spent his time mostly in pious matters, and in reading the +histories of Saints."</p> +<p>'The Ship of Fools' is the most important work associated with +Barclay's name. It was a translation of Sebastian Brandt's +'Stultifera Navis,' a book which had attracted universal attention +on the Continent when it appeared in 1494. In his preface, Barclay +admits that "it is not translated word by word according to the +verses of my actor. For I have but only drawn into our mother +tongue in rude language the sentences of the verses as near as the +paucity of my wit will suffer me, sometime adding, sometime +detracting and taking away such things as seemeth me necessary." +The classes and conditions of society that Barclay knew were as +deserving of satire as those of Germany. He tells us that his work +was undertaken "to cleanse the vanity and madness of foolish +people, of whom over great number is in the Realm of England."</p> +<p>The diction of Barclay's version is exceptionally fine. Jamieson +calls it "a rich and unique exhibition of early art," and +says:--"Page after page, even in the antique spelling of Pynson's +edition, may be read by the ordinary reader of to-day without +reference to a dictionary; and when reference is required, it will +be found in nine cases out of ten that the archaism is Saxon, not +Latin. This is all the more remarkable that it occurs in the case +of a priest translating mainly from the Latin and French, and can +only be explained with reference to his standpoint as a social +reformer of the broadest type, and to his evident intention that +his book should be an appeal to all classes, but especially to the +mass of people for amendment of their follies."</p> +<p>As the original work belonged to the German satirist, the +extract from the 'Ship of Fools' is placed under the essay entitled +'Sebastian Brandt.' His 'Eclogues' show Barclay at his best. They +portray the manners and customs of the period, and are full of +local proverbs and wise sayings. According to Warton, Barclay's are +the first 'Eclogues' that appeared in the English language. "They +are like Petrarch's," he says, "and Mantuans of the moral and +satirical kind; and contain but few touches of moral description +and bucolic imagery." Two shepherds meet to talk about the +pleasures and crosses of rustic life and life at court. The hoary +locks of the one show that he is old. His suit of Kendal green is +threadbare, his rough boots are patched, and the torn side of his +coat reveals a bottle never full and never empty. His wallet +contains bread and cheese; he has a crook, and an oaten pipe. His +name is Cornix, and he boasts that he has had worldly experience. +The other shepherd, Coridon, having seen nothing, complains of +country life. He grumbles at the summer's heat and the winter's +cold; at beds on the flinty ground, and the dangers of sleeping +where the wolves may creep in to devour the sheep; of his stiff +rough hands, and his parched, wrinkled, and weather-beaten skin. He +asks whether all men are so unhappy. Cornix, refreshing himself at +intervals with his bottle and crusts, shows him the small amount of +liberty at court, discourses upon the folly of ambition, lays bare +the rapine, avarice, and covetousness of the worldly-minded, and +demonstrates that the court is "painted fair without, but within it +is ugly and vile." He then gives the picture of a courtier's life, +which is cited below. He tells how the minstrels and singers, +philosophers, poets, and orators are but the slaves of patronizing +princes; how beautiful women deceive; describes to him, who has +known nothing but a diet of bread and cheese, the delights of the +table; dilates on the cups of silver and gold, and the crystal +glass shining with red and yellow wine; the sewers bearing in +roasted crane, gorgeous peacocks, and savory joints of beef and +mutton; the carver wielding his dexterous knife; the puddings, the +pasties, the fish fried in sweet oils and garnished with herbs; the +costumes of the men and women in cloth of gold and silver and gay +damask; the din of music, voices, laughter, and jests; and then +paints a picture of the lords and ladies who plunge their knives +into the meats and their hands into platters, spilling wine and +gravy upon their equally gluttonous neighbors. He finishes by +saying:--</p> +<blockquote>"Shepherds have not so wretched lives as they: Though +they live poorely on cruddes, chese, and whey, On apples, plummes, +and drinke cleree water deepe, As it were lordes reigning among +their sheepe. The wretched lazar with clinking of his bell, Hath +life which doth the courtiers excell; The caytif begger hath meate +and libertie, When courtiers hunger in harde captivitie. The poore +man beggeth nothing hurting his name, As touching courters they +dare not beg for shame. And an olde proverb is sayde by men moste +sage, That oft yonge courters be beggars in their +age."</blockquote> +<p>The third 'Eclogue' begins with Coridon relating a dream that he +went to court and saw the scullions standing</p> +<div class="poem"> +<div class="stanza"> +<p class="i11">"about me thicke</p> +<p class="i2">With knives ready for to flay me quicke."</p> +</div> +</div> +<p>This is a text for Cornix, who continues his tirade, and +convinces Coridon of the misery of the court and his happier life, +ending as follows:--</p> +<blockquote>"Than let all shepheardes, from hence to Salisbury With +easie riches, live well, laugh and be mery, Pipe under shadowes, +small riches hath most rest, In greatest seas moste sorest is +tempest, The court is nought els but a tempesteous sea; Avoyde the +rockes. He ruled after me."</blockquote> +<p>The fourth 'Eclogue' is a dialogue on the rich man's treatment +of poets, by two shepherds, Codrus and Menalcas, musing in "shadowe +on the green," while their snowy flocks graze on the sweet meadow. +This contains a fine allegorical description of 'Labour.'</p> +<p>The fifth 'Eclogue' is the 'Cytezen and the Uplondyshman.' Here +the scene changes, and two shepherds, Faustus and Amyntas, +discourse in a cottage while the snows of January whirl without. +Amyntas has learned in London "to go so manerly." Not a wrinkle may +be found in his clothes, not a hair on his cloak, and he wears a +brooch of tin high on his bonnet. He has been hostler, +costermonger, and taverner, and sings the delights of the city. +Faustus, the rustic, is contented with his lot. The 'Cytezen and +the Uplondyshman' was printed from the original edition of Wynkyn +de Worde, with a preface by F. W. Fairholt, Percy Society (Vol. +xxii.).</p> +<p>Other works ascribed to Barclay are:--'The Figure of Our Holy +Mother Church, Oppressed by the French King'; 'The Lyfe of the +Glorious Martyr Saynt George,' translated (from Mantuan) by +Alexander Barclay; 'The Lyfe of the Blessed Martyr, Saynte Thomas'; +'Contra Skeltonum,' in which the quarrel he had with his +contemporary poet, John Skelton, was doubtless continued.</p> +<p>Estimates of Barclay may be found in 'The Ship of Fools,' edited +by T.H. Jamieson (1874); 'Sibbald's Chronicle of Scottish Poetry,' +from the thirteenth century to the union of the crowns (1802); 'The +History of English Poetry,' by Thomas Warton (1824); 'The History +of Scottish Poetry,' by David Irving (1861); and 'Chips from a +German Workshop,' by F. Max Müller (1870).</p> +<br> +<br> +<a name="BARCLAY_01"></a> +<div class="poem"> +<div class="stanza"> +<p class="i2"><b>THE COURTIER'S LIFE</b></p> +</div> +<div class="stanza"> +<p class="i4">Second Eclogue</p> +</div> +<div class="stanza"> +<p class="i5">CORNIX</p> +</div> +<div class="stanza">Some men deliteth beholding men to fight,<br> +Or goodly knights in pleasaunt apparayle,<br> +Or sturdie soldiers in bright harnes and male,<br> +Or an army arrayde ready to the warre,<br> +Or to see them fight, so that he stand afarre.<br> +Some glad is to see those ladies beauteous<br> +Goodly appoynted in clothing sumpteous:<br> +A number of people appoynted in like wise<br> +In costly clothing after the newest gise,<br> +Sportes, disgising, fayre coursers mount and praunce,<br> +Or goodly ladies and knightes sing and daunce,<br> +To see fayre houses and curious picture,<br> +Or pleasaunt hanging or sumpteous vesture<br> +Of silke, of purpure or golde moste oriente,<br> +And other clothing divers and excellent,<br> +Hye curious buildinges or palaces royall,<br> +Or chapels, temples fayre and substantial,<br> +Images graven or vaultes curious,<br> +Gardeyns and medowes, or place delicious,<br> +Forestes and parkes well furnished with dere,<br> +Cold pleasaunt streams or welles fayre and clere,<br> +Curious cundites or shadowie mountaynes,<br> +Swete pleasaunt valleys, laundes or playnes,<br> +Houndes, and such other things manyfolde<br> +Some men take pleasour and solace to beholde.</div> +<div class="stanza">But all these pleasoures be much more +jocounde,<br> +To private persons which not to court be bounde,<br> +Than to such other whiche of necessitie<br> +Are bounde to the court as in captivitie;<br> +For they which be bounde to princes without fayle<br> +When they must nedes be present in battayle,<br> +When shall they not be at large to see the sight,<br> +But as souldiours in the middest of the fight,<br> +To runne here and there sometime his foe to smite,<br> +And oftetimes wounded, herein is small delite,<br> +And more muste he think his body to defende,<br> +Than for any pleasour about him to intende,<br> +And oft is he faynt and beaten to the grounde,<br> +I trowe in suche sight small pleasour may be founde.<br> +As for fayre ladies, clothed in silke and golde,<br> +In court at thy pleasour thou canst not beholde.<br> +At thy princes pleasour thou shalt them only see,<br> +Then suche shalt thou see which little set by thee,<br> +Whose shape and beautie may so inflame thine heart,<br> +That thought and languor may cause thee for to smart.<br> +For a small sparcle may kindle love certayne,<br> +But skantly Severne may quench it clene againe;<br> +And beautie blindeth and causeth man to set<br> +His hearte on the thing which he shall never get.<br> +To see men clothed in silkes pleasauntly<br> +It is small pleasour, and ofte causeth envy.<br> +While thy lean jade halteth by thy side,<br> +To see another upon a, courser ride,<br> +Though he be neyther gentleman nor knight,<br> +Nothing is thy fortune, thy hart cannot be light.<br> +As touching sportes and games of pleasaunce.<br> +To sing, to revell, and other daliaunce:<br> +Who that will truely upon his lord attende,<br> +Unto suche sportes he seldome may entende.<br> +Palaces, pictures, and temples sumptuous,<br> +And other buildings both gay and curious,<br> +These may marchauntes more at their pleasour see,<br> +Men suche as in court be bounde alway to bee.<br> +Sith kinges for moste part passe not their regions,<br> +Thou seest nowe cities of foreyn nations.<br> +Suche outwarde pleasoures may the people see,<br> +So may not courtiers for lacke of libertie.<br> +As for these pleasours of thinges vanable<br> +Whiche in the fieldes appeareth delectable,</div> +<div class="stanza">But seldome season mayest thou obtayne +respite.<br> +The same to beholde with pleasour and delite,<br> +Sometime the courtier remayneth halfe the yere<br> +Close within walls muche like a prisonere,<br> +To make escapes some seldome times are wont,<br> +Save when the powers have pleasour for to hunt,<br> +Or its otherwise themselfe to recreate,<br> +And then this pleasour shall they not love but hate;<br> +For then shall they foorth most chiefely to their payne,<br> +When they in mindes would at home remayne.<br> +Other in the frost, hayle, or els snowe,<br> +Or when some tempest or mightie wind doth blowe,<br> +Or else in great heat and fervour excessife,<br> +But close in houses the moste parte waste their life,<br> +Of colour faded, and choked were with duste:<br> +This is of courtiers the joy and all the lust.</div> +<div class="stanza"> +<p class="i5">CORIDON</p> +</div> +<div class="stanza">What! yet may they sing and with fayre ladies +daunce,<br> +Both commen and laugh; herein is some pleasaunce.</div> +<div class="stanza"> +<p class="i5">CORNIX</p> +</div> +<div class="stanza">Nay, nay, Coridon, that pleasour is but +small,<br> +Some to contente what man will pleasour call,<br> +For some in the daunce his pincheth by the hande,<br> +Which gladly would see him stretched in a bande.<br> +Some galand seketh his favour to purchase<br> +Which playne abhorreth for to beholde his face.<br> +And still in dauncing moste parte inclineth she<br> +To one muche viler and more abject then he.<br> +No day over passeth but that in court men finde<br> +A thousande thinges to vexe and greve their minde;<br> +Alway thy foes are present in thy sight,<br> +And often so great is their degree and might<br> +That nedes must thou kisse the hand which did thee harm,<br> +Though thou would see it cut gladly from the arme.<br> +And briefly to speake, if thou to courte resorte,<br> +If thou see one thing of pleasour or comfort,<br> +Thou shalt see many, before or thou depart,<br> +To thy displeasour and pensiveness of heart:<br> +So findeth thy sight there more of bitternes<br> +And of displeasour, than pleasour and gladnes.</div> +</div> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BARHAM"></a> +<h2>RICHARD HARRIS BARHAM</h2> +<h3>(1788-1845)</h3> +<br> +<p class="par"><img src="images/letter-t.png" width="30%" alt= +""></p> +<p>he author of the 'Ingoldsby Legends' belonged to a well-defined +and delightful class of men, chiefly found in modern England, and +indeed mostly bred and made possible by the conditions of English +society and the Anglican Church. It is that of clergymen who in the +public eye are chiefly wits and diners-out, jokers and literary +humorists, yet are conscientious and devoted ministers of their +religion and curators of their religious charges, honoring their +profession and humanity by true and useful lives and lovable +characters. They are men of the sort loathed by Lewis Carroll's +heroine in the 'Two Voices,'</p> +<p class="rgt"><img src="images/image-069.png" width="45%" alt= +""><br> +<b>Richard H. Barham.</b></p> +<div class="poem"> +<div class="stanza"> +<p class="i8">"a kind of folk</p> +<p class="i2">Who have no horror of a joke,"</p> +</div> +</div> +<p>and indeed love it dearly, but are as firm in principle and +unostentatiously dutiful in conduct as if they were leaden Puritans +or narrow devotees.</p> +<p>By far the best remembered of this class, for themselves or +their work, are Sydney Smith and Richard Harris Barham; but their +relative repute is one of the oddest paradoxes in literary history. +Roughly speaking, the one is remembered and unread, the other read +and unremembered. Sydney Smith's name is almost as familiar to the +masses as Scott's, and few could tell a line that he wrote; +Barham's writing is almost as familiar as Scott's, and few would +recognize his name. Yet he is in the foremost rank of humorists; +his place is wholly unique, and is likely to remain so. It will be +an age before a similar combination of tastes and abilities is +found once more. Macaulay said truly of Sir Walter Scott that he +"combined the minute learning of an antiquary with the fire of a +great poet." Barham combined a like learning in different fields, +and joined to a different outlook and temper of mind, with the +quick perceptions of a great wit, the brimming zest and high +spirits of a great joker, the genial nature and lightness of a born +man of the world, and the gifts of a wonderful improvisatore in +verse. Withal, he had just enough of serious purpose to give much +of his work a certain measure of cohesive unity, and thus impress +it on the mind as no collection of random skits could do. That +purpose is the feathering which steadies the arrows and sends them +home.</p> +<p>It is pleasant to know that one who has given so good a time to +others had a very good time himself; that we are not, as so often +happens, relishing a farce that stood for tragedy with the maker, +and substituting our laughter for his tears. Barham had the cruel +sorrows of personal bereavement so few escape; but in material +things his career was wholly among pleasant ways. He was well born +and with means, well educated, well nurtured. He was free from the +sordid squabbles or anxious watching and privation which fall to +the lot of so many of the best. He was happy in his marriage and +its attendant home and family, and most fortunate in his +friendships and the superb society he enjoyed. His birth and +position as a gentleman of good landed family, combined with his +profession, opened all doors to him.</p> +<p>But it was the qualities personal to himself, after all, which +made these things available for enjoyment. His desires were +moderate; he counted success what more eager and covetous natures +might have esteemed comparative failure. His really strong +intellect and wide knowledge and cultivation enabled him to meet +the foremost men of letters on equal terms. His kind heart, +generous nature, exuberant fun, and entertaining conversation +endeared him to every one and made his company sought by every one; +they saved much trouble from coming upon him and lightened what did +come. And no blight could have withered that perennial fountain of +jollity, drollery, and light-heartedness. But these were only the +ornaments of a stanchly loyal and honorable nature, and a lovable +and unselfish soul. One of his friends writes of him thus:--</p> +<blockquote>"The profits of agitating pettifoggers would have +materially lessened in a district where he acted as a magistrate; +and duels would have been nipped in the bud at his regimental mess. +It is not always an easy task to do as you would be done by; but to +think as you would be thought of and thought for, and to feel as +you would be felt for, is perhaps still more difficult, as superior +powers of tact and intellect are here required in order to second +good intentions. These faculties, backed by an uncompromising love +of truth and fair dealing, indefatigable good nature, and a nice +sense of what was due to every one in the several relations of +life, both gentle and simple, rendered our late friend invaluable, +either as an adviser or a peacemaker, in matters of delicate and +difficult handling."</blockquote> +<p>Barham was born in Canterbury, England, December 6th, 1788, and +died in London, June 17th, 1845. His ancestry was superior, the +family having derived its name from possessions in Kent in Norman +days. He lost his father--a genial <i>bon vivant</i> of literary +tastes who seems like a reduced copy of his son--when but five +years old; and became heir to a fair estate, including Tappington +Hall, the picturesque old gabled mansion so often imaginatively +misdescribed in the 'Ingoldsby Legends,' but really having the +famous blood-stained stairway. He had an expensive private +education, which was nearly ended with his life at the age of +fourteen by a carriage accident which shattered and mangled his +right arm, crippling it permanently. As so often happens, the +disaster was really a piece of good fortune: it turned him to or +confirmed him in quiet antiquarian scholarship, and established +connections which ultimately led to the 'Legends'; he may owe +immortality to it.</p> +<p>After passing through St. Paul's (London) and Brasenose +(Oxford), he studied law, but finally entered the church. After a +couple of small curacies in Kent, he was made rector of Snargate +and curate of Warehorn, near Romney Marsh; all four in a district +where smuggling was a chief industry, and the Marsh in especial a +noted haunt of desperadoes (for smugglers then took their lives in +their hands), of which the 'Legends' are rich in reminiscences. In +1819, during this incumbency, he wrote a novel, 'Baldwin,' which +was a failure; and part of another, 'My Cousin Nicholas,' which, +finished fifteen years later, had fair success as a serial in +Blackwood's Magazine.</p> +<p>An opportunity offering in 1821, he stood for a minor canonry in +St. Paul's Cathedral, London, and obtained it; his income was less +than before, but he had entered the metropolitan field, which +brought him rich enjoyment and permanent fame. He paid a terrible +price for them: his unhealthy London house cost him the lives of +three of his children. To make up for his shortened means he became +editor of the London Chronicle and a contributor to various other +periodicals, including the notorious weekly John Bull, sometime +edited by Theodore Hook. In 1824 he became a priest in the Chapel +Royal at St. James's Palace, and soon after gained a couple of +excellent livings in Essex, which put him at ease financially.</p> +<p>He was inflexible in principle, a firm Tory, though without +rancor. He was very High Church, but had no sympathy with the +Oxford movement or Catholicism. He preached careful and sober +sermons, without oratorical display and with rigid avoidance of +levity. He would not make the church a field either for fireworks +or jokes, or even for displays of scholarship or intellectual +gymnastics. In his opinion, religious establishments were kept up +to advance religion and morals. And both he and his wife wrought +zealously in the humble but exacting field of parochial good +works.</p> +<p>He was, however, fast becoming one of the chief ornaments of +that brilliant group of London wits whose repute still vibrates +from the early part of the century. Many of them--actors, authors, +artists, musicians, and others met at the Garrick Club, and Barham +joined it. The names of Sydney Smith and Theodore Hook are enough +to show what it was; but there were others equally delightful,--not +the least so, or least useful, a few who could not see a joke at +all, and whose simplicity and good nature made them butts for the +hoaxes and solemn chaff of the rest. Barbara's diary, quoted in his +son's (Life,) gives an exquisite instance.</p> +<p>In 1834 his old schoolmaster Bentley established Bentley's +Miscellany; and Barham was asked for contributions. The first he +sent was the amusing but quite "conceivable" (Spectre of +Tappington); but there soon began the immortal series of versified +local stories, legendary church miracles, antiquarian curios, witty +summaries of popular plays, skits on London life, and so on, under +the pseudonym of 'Thomas Ingoldsby,' which sprang instantly into +wide popularity, and have never fallen from public favor since--nor +can they till appreciation of humor is dead in the world. They were +collected and illustrated by Leech, Cruikshank, and others, who +were inspired by them to some of their best designs: perhaps the +most perfect realization in art of the Devil in his moments of +jocose triumph is Leech's figure in 'The House-Warming.' A later +series appeared in Colburn's New Monthly Magazine in 1843.</p> +<p>He wrote some excellent pieces (of their kind) in prose, besides +the one already mentioned: the weird and well-constructed 'Leech of +Folkestone' and the 'Passage in the Life of Henry Harris,' both +half-serious tales of mediaeval magic; the thoroughly Ingoldsbian +'Legend of Sheppey,' with its irreverent farce, high animal +spirits, and antiquarianism; the equally characteristic 'Lady +Rohesia,' which would be vulgar but for his sly wit and drollery. +But none of these are as familiar as the versified 'Legends,' nor +have they the astonishing variety of entertainment found in the +latter.</p> +<p>The 'Ingoldsby Legends' have been called an English +naturalization of the French metrical <i>contes;</i> but Barham +owes nothing to his French models save the suggestion of method and +form. Not only is his matter all his own, but he has +<i>Anglified</i> the whole being of the metrical form itself. His +facility of versification, the way in which the whole language +seems to be liquid in his hands and ready to pour into any channel +of verse, was one of the marvelous things of literature. It did not +need the free random movement of the majority of the tales, where +the lines may be anything from one foot to six, from spondaic to +dactylic: in some of them he tied himself down to the most rigid +and inflexible metrical forms, and moved as lightly and freely in +those fetters as if they were non-existent. As to the astonishing +rhymes which meet us at every step, they form in themselves a +poignant kind of wit; often double and even treble, one word +rhyming with an entire phrase or one phrase with another,--not only +of the oddest kind, but as nicely adapted to the necessities of +expression and meaning as if intended or invented for that purpose +alone,--they produce on us the effect of the richest humor.</p> +<p>One of his most diverting "properties" is the set of "morals" he +draws to everything, of nonsensical literalness and infantile +gravity, the perfection of solemn fooling. Thus in the 'Lay of St. +Cuthbert,' where the Devil has captured the heir of the house,</p> +<blockquote>"Whom the nurse had forgot and left there in his chair, +Alternately sucking his thumb and his pear,"</blockquote> +<p>the moral is drawn, among others,--</p> +<blockquote>"Perhaps it's as well to keep children from plums,<br> +And pears in their season--and sucking their thumbs."</blockquote> +<p>And part of the moral to the 'Lay of St. Medard' is--</p> +<blockquote>"Don't give people nicknames! don't, even in fun,<br> +Call any one 'snuff-colored son of a gun'!"</blockquote> +<p>And they generally wind up with some slyly shrewd piece of +worldly wisdom and wit. Thus, the closing moral to 'The +Blasphemer's Warning' is:--</p> +<blockquote>"To married men this--For the rest of your lives,<br> +Think how your misconduct may act on your wives!<br> +Don't swear then before them, lest haply they faint,<br> +Or--what sometimes occurs--run away with a Saint!"</blockquote> +<p>Often they are broader yet, and intended for the club rather +than the family. Indeed, the tales as a whole are club tales, with +an audience of club-men always in mind; not, be it remembered, +bestialities like their French counterparts, or the later English +and American improvements on the French, not even objectionable for +general reading, but full of exclusively masculine joking, +allusions, and winks, unintelligible to the other sex, and not +welcome if they were intelligible.</p> +<p>He has plenty of melody, but it is hardly recognized because of +the doggerel meaning, which swamps the music in the farce. And this +applies to more important things than the melody. The average +reader floats on the surface of this rapid and foamy stream, +covered with sticks and straws and flowers and bonbons, and never +realizes its depth and volume. This light frothy verse is only the +vehicle of a solid and laborious antiquarian scholarship, of an +immense knowledge of the world and society, books and men. He +modestly disclaimed having any imagination, and said he must always +have facts to work upon. This was true; but the same may be said of +some great poets, who have lacked invention except around a +skeleton ready furnished. What was true of Keats and Fitzgerald +cannot nullify the merit of Barham. His fancy erected a huge and +consistent superstructure on a very slender foundation. The same +materials lay ready to the hands of thousands of others, who, +however, saw only stupid monkish fables or dull country +superstition.</p> +<p>His own explanation of his handling of the church legends +tickles a critic's sense of humor almost as much as the verses +themselves. It is true that while differing utterly in his tone of +mind, and his attitude toward the mediaeval stories, from that of +the mediaeval artists and sculptors,--whose gargoyles and other +grotesques were carved without a thought of travesty on anything +religious,--he is at one with them in combining extreme irreverence +of form with a total lack of irreverence of spirit toward the real +spiritual mysteries of religion. He burlesques saints and devils +alike, mocks the swarm of miracles of the mediaeval Church, makes +salient all the ludicrous aspects of mediaeval religious faith in +its devout credulity and barbarous gropings; yet he never sneers at +holiness or real aspiration, and through all the riot of fun in his +masques, one feels the sincere Christian and the warm-hearted man. +But he was evidently troubled by the feeling that a clergyman ought +not to ridicule any form in which religious feeling had ever +clothed itself; and he justified himself by professing that he +wished to expose the absurdity of old superstitions and mummeries +to help countervail the effect of the Oxford movement. Ingoldsby as +a soldier of Protestantism, turning monkish stories into rollicking +farces in order to show up what he conceived to be the errors of +his opponents, is as truly Ingoldsbian a figure as any in his own +'Legends.' Yet one need not accuse him of hypocrisy or falsehood, +hardly even of self-deception. He felt that dead superstitions, and +stories not reverenced even by the Church that developed them, were +legitimate material for any use he could make of them; he felt that +in dressing them up with his wit and fancy he was harming nothing +that existed, nor making any one look lightly on the religion of +Christ or the Church of Christ: and that they were the property of +an opposing church body was a happy thought to set his conscience +at rest. He wrote them thenceforth with greater peace of mind and +added satisfaction, and no doubt really believed that he was doing +good in the way he alleged. And if the excuse gave to the world +even one more of the inimitable 'Legends,' it was worth feeling and +making.</p> +<p>Barham's nature was not one which felt the problems and +tragedies of the world deeply. He grieved for his friends, he +helped the distresses he saw, but his imagination rested closely in +the concrete. He was incapable of <i>weltschmerz</i>; even for +things just beyond his personal ken he had little vision or fancy. +His treatment of the perpetual problem of sex-temptations and +lapses is a good example: he never seems to be conscious of the +tragedy they envelop. To him they are always good jokes, to wink +over or smile at or be indulgent to. No one would ever guess from +'Ingoldsby' the truth he finds even in 'Don Juan,' that</p> +<blockquote>"A heavy price must all pay who thus err,<br> +In some shape."</blockquote> +<p>But we cannot have everything: if Barham had been sensitive to +the tragic side of life, he could not have been the incomparable +fun-maker he was. We do not go to the 'Ingoldsby Legends' to solace +our souls when hurt or remorseful, to brace ourselves for duty, or +to feel ourselves nobler by contact with the expression of +nobility. But there must be play and rest for the senses, as well +as work and aspiration; and there are worse services than relieving +the strain of serious endeavor by enabling us to become jolly +pagans once again for a little space, and care naught for the +morrow.</p> +<br> +<br> +<a name="BARHAM_01"></a> +<div class="poem"> +<div class="stanza"> +<p class="i6"><b>AS I LAYE A-THYNKYNGE</b></p> +</div> +<div class="stanza"> +<p class="i6">THE LAST LINES OF BARHAM</p> +</div> +<div class="stanza"> +<p class="i3">As I laye a-thynkynge, a-thynkynge, a-thynkynge,</p> +<p class="i3">Merrie sang the Birde as she sat upon the spraye;</p> +<p class="i6">There came a noble Knighte,</p> +<p class="i6">With his hauberke shynynge brighte,</p> +<p class="i6">And his gallant heart was lyghte,</p> +<p class="i8">Free and gaye;</p> +<p class="i3">As I laye a-thynkynge, he rode upon his waye.</p> +</div> +<div class="stanza"> +<p class="i3">As I laye a-thynkynge, a-thynkynge, a-thynkynge,</p> +<p class="i3">Sadly sang the Birde as she sat upon the tree!</p> +<p class="i6">There seemed a crimson plain,</p> +<p class="i6">Where a gallant Knyghte lay slayne,</p> +<p class="i6">And a steed with broken rein</p> +<p class="i8">Ran free,</p> +<p class="i3">As I laye a-thynkynge, most pitiful to see!</p> +</div> +<div class="stanza"> +<p class="i3">As I laye a-thynkynge, a-thynkynge, a-thynkynge,</p> +<p class="i3">Merrie sang the Birde as she sat upon the boughe;</p> +<p class="i6">A lovely mayde came bye,</p> +<p class="i6">And a gentil youth was nyghe,</p> +<p class="i6">And he breathed many a syghe,</p> +<p class="i8">And a vowe;</p> +<p class="i3">As I laye a-thynkynge, her hearte was gladsome +now.</p> +</div> +<div class="stanza"> +<p class="i3">As I laye a-thynkynge, a-thynkynge, a-thynkynge,</p> +<p class="i3">Sadly sang the Birde as she sat upon the thorne;</p> +<p class="i6">No more a youth was there,</p> +<p class="i6">But a Maiden rent her haire,</p> +<p class="i6">And cried in sad despaire,</p> +<p class="i8">"That I was borne!"</p> +<p class="i3">As I laye a-thynkynge, she perished forlorne.</p> +</div> +<div class="stanza"> +<p class="i3">As I laye a-thynkynge, a-thynkynge, a-thynkynge,</p> +<p class="i3">Sweetly sang the Birde as she sat upon the briar;</p> +<p class="i6">There came a lovely childe,</p> +<p class="i6">And his face was meek and milde,</p> +<p class="i6">Yet joyously he smiled</p> +<p class="i8">On his sire;</p> +<p class="i3">As I laye a-thynkynge, a Cherub mote admire.</p> +</div> +<div class="stanza"> +<p class="i3">But I laye a-thynkynge, a-thynkynge, a-thynkynge,</p> +<p class="i3">And sadly sang the Birde as it perched upon a +bier;</p> +<p class="i6">That joyous smile was gone,</p> +<p class="i6">And the face was white and wan,</p> +<p class="i6">As the downe upon the Swan</p> +<p class="i8">Doth appear,</p> +<p class="i3">As I laye a-thynkynge,--oh! bitter flowed the +tear!</p> +</div> +<div class="stanza"> +<p class="i3">As I laye a-thynkynge, the golden sun was +sinking,</p> +<p class="i3">Oh, merrie sang that Birde, as it glittered on her +breast</p> +<p class="i6">With a thousand gorgeous dyes;</p> +<p class="i6">While soaring to the skies,</p> +<p class="i6">'Mid the stars she seemed to rise,</p> +<p class="i8">As to her nest;</p> +<p class="i3">As I laye a-thynkynge, her meaning was exprest:--</p> +<p class="i6">"Follow me away,</p> +<p class="i6">It boots not to delay,"--</p> +<p class="i6">'Twas so she seemed to saye,</p> +<p class="i8">"HERE IS REST!"</p> +</div> +</div> +<br> +<br> +<a name="BARHAM_02"></a> +<center><b>THE LAY OF ST. CUTHBERT</b></center> +<br> +<center><b>OR</b></center> +<br> +<center><b>THE DEVIL'S DINNER-PARTY</b></center> +<br> +<center>A LEGEND OF THE NORTH COUNTREE</center> +<br> +<blockquote>Nobilis quidam, cui nomen <i>Monsr. Lescrop, +Chivaler</i>, cum invitasset convivas, et, hora convivii jam +instante et apparatu facto, spe frustratus esset, excusantibus se +convivis cur non compararent, prorupit iratus in haec verba: +"<i>Veniant igitur omnes dæmones, si nullus hominum mecum +esse potest</i>!"<br> +<br> +Quod cum fieret, et Dominus, et famuli, et ancillæ, a domo +properantes, forte obliti, infantem in cunis jacentem secum non +auferent, Dæmones incipiunt commessari et vociferari, +prospicereque per fenestras formis ursorum, luporum, felium, et +monstrare pocula vino repleta. <i>Ah</i>, inquit pater, <i>ubi +infans meus?</i> Vix cum haec dixisset, unus ex Dæmonibus +ulnis suis infantem ad fenestram gestat, etc.--<i>Chronicon de +Bolton</i>.</blockquote> +<br> +<br> +<div class="poem"> +<div class="stanza"> +<p class="i1">It's in Bolton Hall, and the clock strikes One,</p> +<p class="i1">And the roast meat's brown and the boiled meat's +done,</p> +<p class="i1">And the barbecued sucking-pig's crisped to a +turn,</p> +<p class="i1">And the pancakes are fried and beginning to burn;</p> +<p class="i5">The fat stubble-goose</p> +<p class="i5">Swims in gravy and juice,</p> +<p class="i1">With the mustard and apple-sauce ready for use;</p> +<p class="i1">Fish, flesh, and fowl, and all of the best,</p> +<p class="i1">Want nothing but eating--they're all ready drest,</p> +<p class="i1">But where is the Host, and where is the Guest?</p> +</div> +<div class="stanza"> +<p class="i1">Pantler and serving-man, henchman and page</p> +<p class="i1">Stand sniffing the duck-stuffing (onion and +sage),</p> +<p class="i5">And the scullions and cooks,</p> +<p class="i6">With fidgety looks,</p> +<p class="i1">Are grumbling and mutt'ring, and scowling as +black</p> +<p class="i1">As cooks always do when the dinner's put back;</p> +<p class="i1">For though the board's deckt, and the napery, +fair</p> +<p class="i1">As the unsunned snow-flake, is spread out with +care,</p> +<p class="i1">And the Dais is furnished with stool and with +chair,</p> +<p class="i1">And plate of <i>orféverie</i> costly and +rare,</p> +<p class="i1">Apostle-spoons, salt-cellar, all are there,</p> +<p class="i5">And Mess John in his place,</p> +<p class="i5">With his rubicund face,</p> +<p class="i1">And his hands ready folded, prepared to say +Grace,</p> +<p class="i1">Yet where is the Host?--and his convives--where?</p> +</div> +<div class="stanza"> +<p class="i1">The Scroope sits lonely in Bolton Hall,</p> +<p class="i1">And he watches the dial that hangs by the wall,</p> +<p class="i1">He watches the large hand, he watches the small,</p> +<p class="i5">And he fidgets and looks</p> +<p class="i5">As cross as the cooks,</p> +<p class="i1">And he utters--a word which we'll soften to +"Zooks!"</p> +<p class="i1">And he cries, "What on earth has become of them +all?--</p> +<p class="i5">What can delay</p> +<p class="i5">De Vaux and De Saye?</p> +<p class="i1">What makes Sir Gilbert de Umfraville stay?</p> +<p class="i1">What's gone with Poyntz, and Sir Reginald Braye?</p> +<p class="i1">Why are Ralph Ufford and Marny away?</p> +<p>And De Nokes and De Styles, and Lord Marmaduke Grey?</p> +<p class="i5">And De Roe?</p> +<p class="i5">And De Doe?</p> +<p class="i1">Poynings and Vavasour--where be they?</p> +<p class="i1">Fitz-Walter, Fitz-Osbert, Fitz-Hugh, and +Fitz-John,</p> +<p class="i1">And the Mandevilles, <i>père et filz</i> +(father and son);</p> +<p class="i1">Their cards said 'Dinner precisely at One!'</p> +<p class="i5">There's nothing I hate, in</p> +<p class="i5">The world, like waiting!</p> +<p class="i1">It's a monstrous great bore, when a Gentleman +feels</p> +<p class="i1">A good appetite, thus to be kept from his meals!"</p> +</div> +<div class="stanza"> +<p class="i1">It's in Bolton Hall, and the clock strikes Two!</p> +<p class="i1">And the scullions and cooks are themselves "in a +stew,"</p> +<p class="i1">And the kitchen-maids stand, and don't know what to +do,</p> +<p class="i1">For the rich plum-puddings are bursting their +bags,</p> +<p class="i1">And the mutton and turnips are boiling to rags,</p> +<p class="i5">And the fish is all spoiled,</p> +<p class="i5">And the butter's all oiled,</p> +<p class="i1">And the soup's got cold in the silver tureen,</p> +<p class="i1">And there's nothing, in short, that is fit to be +seen!</p> +<p class="i1">While Sir Guy Le Scroope continues to fume,</p> +<p class="i1">And to fret by himself in the tapestried room,</p> +<p class="i5">And still fidgets and looks</p> +<p class="i5">More cross than the cooks,</p> +<p>And repeats that bad word, which we've softened to "Zooks!"</p> +</div> +<div class="stanza"> +<p class="i1">Two o'clock's come, and Two o'clock's gone,</p> +<p class="i1">And the large and the small hands move steadily +on,</p> +<p class="i5">Still nobody's there,</p> +<p class="i5">No De Roos, or De Clare,</p> +<p class="i1">To taste of the Scroope's most delicate fare,</p> +</div> +<div class="stanza"> +<p class="i1">Or to quaff off a health unto Bolton's Heir,</p> +<p class="i1">That nice little boy who sits in his chair,</p> +<p class="i1">Some four years old, and a few months to spare,</p> +<p class="i1">With his laughing blue eyes and his long curly +hair,</p> +<p class="i1">Now sucking his thumb, and now munching his pear.</p> +</div> +<div class="stanza"> +<p class="i1">Again Sir Guy the silence broke,</p> +<p class="i1">"It's hard upon Three!--it's just on the stroke!</p> +<p class="i1">Come, serve up the dinner!--A joke is a joke"--</p> +<p class="i1">Little he deems that Stephen de Hoaques,</p> +<p class="i1">Who "his fun," as the Yankees say, everywhere +"pokes,"</p> +<p class="i1">And is always a great deal too fond of his jokes,</p> +<p class="i1">Has written a circular note to De Nokes,</p> +<p class="i1">And De Styles and De Roe, and the rest of the +folks,</p> +<p class="i6">One and all,</p> +<p class="i6">Great and small,</p> +<p class="i5">Who were asked to the Hall</p> +<p class="i1">To dine there and sup, and wind up with a ball,</p> +<p class="i1">And had told all the party a great bouncing lie, +he</p> +<p class="i1">Cooked up, that the "<i>fête</i> was postponed +<i>sine die</i>,</p> +<p class="i1">The dear little curly-wigged heir of Le Scroope</p> +<p class="i1">Being taken alarmingly ill with the croop!"</p> +</div> +<div class="stanza"> +<p class="i5">When the clock struck Three,</p> +<p class="i5">And the Page on his knee</p> +<p class="i1">Said, "An't please you, Sir Guy Le Scroope, <i>On a +servi</i>!"</p> +<p class="i1">And the Knight found the banquet-hall empty and +clear,</p> +<p class="i5">With nobody near</p> +<p class="i5">To partake of his cheer,</p> +<p>He stamped, and he stormed--then his language!--Oh dear!</p> +<p class="i1">'Twas awful to see, and 'twas awful to hear!</p> +<p class="i1">And he cried to the button-decked Page at his +knee,</p> +<p class="i1">Who had told him so civilly "<i>On a servi,"</i></p> +<p class="i1">"Ten thousand fiends seize them, wherever they +be!</p> +<p class="i1">--The Devil take <i>them</i>! and the Devil take +<i>thee!</i></p> +<p class="i1">And the DEVIL MAY EAT UP THE DINNER FOR ME!"</p> +</div> +<div class="stanza"> +<p class="i6">In a terrible fume</p> +<p class="i5">He bounced out of the room,</p> +<p>He bounced out of the house--and page, footman, and groom</p> +<p class="i1">Bounced after their master; for scarce had they +heard</p> +<p class="i1">Of this left-handed grace the last finishing +word,</p> +<p class="i1">Ere the horn at the gate of the Barbican tower</p> +<p class="i1">Was blown with a loud twenty-trumpeter power,</p> +</div> +<div class="stanza"> +<p class="i7">And in rush'd a troop</p> +<p class="i5">Of strange guests!--such a group</p> +<p class="i2">As had ne'er before darkened the door of the +Scroope!</p> +<p class="i2">This looks like De Saye--yet--it is not De Saye--</p> +<p class="i2">And this is--no, 'tis not--Sir Reginald Braye,</p> +<p class="i2">This has somewhat the favor of Marmaduke Grey--</p> +<p class="i2">But stay!--<i>Where on earth did he get those long +nails?</i></p> +<p>Why, they're <i>claws</i>!--then Good Gracious!--they've all of +them <i>tails!</i></p> +<p class="i2">That can't be De Vaux--why, his nose is a bill,</p> +<p class="i2">Or, I would say a beak!--and he can't keep it +still!--</p> +<p class="i2">Is that Poynings?--Oh, Gemini! look at his feet!!</p> +<p class="i2">Why, they're absolute <i>hoofs</i>!--is it gout or +his corns,</p> +<p class="i2">That have crumpled them up so?--by Jingo, he's +<i>horns!</i></p> +<p class="i1">Run! run!--There's Fitz-Walter, Fitz-Hugh, and +Fitz-John,</p> +<p class="i1">And the Mandevilles, <i>père et filz</i> +(father and son),</p> +<p class="i1">And Fitz-Osbert, and Ufford--<i>they've all got them +on!</i></p> +<p class="i5">Then their great saucer eyes--</p> +<p class="i5">It's the Father of lies</p> +<p class="i1">And his Imps--run! run! run!--they're all fiends in +disguise,</p> +<p class="i1">Who've partly assumed, with more sombre +complexions,</p> +<p class="i1">The forms of Sir Guy Le Scroope's friends and +connections,</p> +<p class="i1">And He--at the top there--that grim-looking elf--</p> +<p class="i1">Run! run!--that's the "muckle-horned Clootie" +himself!</p> +</div> +<div class="stanza"> +<p class="i6">And now what a din</p> +<p class="i6">Without and within!</p> +<p class="i2">For the courtyard is full of them.--How they +begin</p> +<p class="i2">To mop, and to mowe, and to make faces, and grin!</p> +<p class="i4">Cock their tails up together,</p> +<p class="i4">Like cows in hot weather,</p> +<p class="i2">And butt at each other, all eating and drinking,</p> +<p class="i2">The viands and wine disappearing like winking,</p> +<p class="i4">And then such a lot</p> +<p class="i4">As together had got!</p> +<p class="i2">Master Cabbage, the steward, who'd made a machine</p> +<p class="i2">To calculate with, and count noses,--I ween</p> +<p class="i2">The cleverest thing of the kind ever seen,--</p> +<p class="i4">Declared, when he'd made</p> +<p class="i4">By the said machine's aid,</p> +<p class="i2">Up, what's now called the "tottle" of those he +surveyed,</p> +<p class="i2">There were just--how he proved it I cannot +divine--</p> +<p class="i2"><i>Nine thousand, nine hundred, and ninety and +nine.</i></p> +<p class="i5">Exclusive of Him</p> +<p class="i5">Who, giant in limb,</p> +</div> +<div class="stanza"> +<p class="i2">And black as the crow they denominate <i>Jim</i>,</p> +<p class="i2">With a tail like a bull, and a head like a bear,</p> +<p class="i2">Stands forth at the window--and what holds he +there,</p> +<p class="i6">Which he hugs with such care,</p> +<p class="i6">And pokes out in the air,</p> +<p class="i2">And grasps as its limbs from each other he'd +tear?</p> +<p class="i6">Oh! grief and despair!</p> +<p class="i6">I vow and declare</p> +<p class="i1">It's Le Scroope's poor, dear, sweet, little, +curly-wigged Heir!</p> +<p class="i2">Whom the nurse had forgot and left there in his +chair,</p> +<p class="i2">Alternately sucking his thumb and his pear.</p> +</div> +<div class="stanza"> +<p class="i5">What words can express</p> +<p class="i5">The dismay and distress</p> +<p class="i2">Of Sir Guy, when he found what a terrible mess</p> +<p class="i2">His cursing and banning had now got him into?</p> +<p class="i2">That words, which to use are a shame and a sin +too,</p> +<p class="i2">Had thus on their speaker recoiled, and his +malison</p> +<p class="i2">Placed in the hands of the Devil's own "pal" his +son!--</p> +<p class="i5">He sobbed and he sighed,</p> +<p class="i5">And he screamed, and he cried,</p> +<p class="i2">And behaved like a man that is mad or in +liquor--he</p> +<p class="i2">Tore his peaked beard, and he dashed off his +"Vicary,"</p> +<p class="i6">Stamped on the jasey</p> +<p class="i6">As though he were crazy,</p> +<p class="i2">And staggering about just as if he were "hazy,"</p> +<p class="i2">Exclaimed, "Fifty pounds!" (a large sum in those +times)</p> +<p class="i2">"To the person, whoever he may be, that climbs</p> +<p class="i2">To that window above there, <i>en ogive</i>, and +painted,</p> +<p class="i2">And brings down my curly-wi'--" Here Sir Guy +fainted!</p> +</div> +<div class="stanza"> +<p class="i6">With many a moan,</p> +<p class="i6">And many a groan,</p> +<p class="i2">What with tweaks of the nose, and some <i>eau de +Cologne</i>,</p> +<p class="i2">He revived,--Reason once more remounted her +throne,</p> +<p class="i2">Or rather the instinct of Nature--'twere treason</p> +<p class="i2">To her, in the Scroope's case, perhaps, to say +Reason--</p> +<p class="i2">But what saw he then--Oh! my goodness! a sight</p> +<p class="i2">Enough to have banished his reason outright!--</p> +<p class="i5">In that broad banquet-hall</p> +<p class="i5">The fiends one and all</p> +<p class="i2">Regardless of shriek, and of squeak, and of +squall,</p> +<p class="i2">From one to another were tossing that small</p> +<p class="i2">Pretty, curly-wigged boy, as if playing at ball;</p> +</div> +<div class="stanza"> +<p class="i2">Yet none of his friends or his vassals might dare</p> +<p class="i2">To fly to the rescue or rush up the stair,</p> +<p class="i2">And bring down in safety his curly-wigged Heir!</p> +</div> +<div class="stanza"> +<p class="i5">Well a day! Well a day!</p> +<p class="i7">All he can say</p> +<p class="i2">Is but just so much trouble and time thrown away;</p> +<p class="i2">Not a man can be tempted to join the +<i>mêlée:</i></p> +<p class="i2">E'en those words cabalistic, "I promise to pay</p> +<p class="i2">Fifty pounds on demand," have for once lost their +sway,</p> +<p class="i5">And there the Knight stands</p> +<p class="i7">Wringing his hands</p> +<p class="i2">In his agony--when on a sudden, one ray</p> +<p class="i2">Of hope darts through his midriff!--His Saint!--</p> +<p class="i7">Oh, it's funny</p> +<p class="i5">And almost absurd,</p> +<p class="i5">That it never occurred!--</p> +<p>"Ay! the Scroope's Patron Saint!--he's the man for my money!</p> +<p class="i2">Saint--who is it?--really I'm sadly to blame,--</p> +<p class="i2">On my word I'm afraid,--I confess it with +shame,--</p> +<p class="i2">That I've almost forgot the good Gentleman's +name,--</p> +<p class="i2">Cut--let me see--Cutbeard?--no--CUTHBERT!--egad!</p> +<p class="i2">St. Cuthbert of Bolton!--I'm right--he's the lad!</p> +<p class="i2">O holy St. Cuthbert, if forbears of mine--</p> +<p class="i2">Of myself I say little--have knelt at your +shrine,</p> +<p>And have lashed their bare backs, and--no matter--with +twine,</p> +<p class="i5">Oh! list to the vow</p> +<p class="i5">Which I make to you now,</p> +<p class="i2">Only snatch my poor little boy out of the row</p> +<p class="i2">Which that Imp's kicking up with his fiendish +bow-wow,</p> +<p class="i2">And his head like a bear, and his tail like a +cow!</p> +<p class="i2">Bring him back here in safety!--perform but this +task,</p> +<p class="i2">And I'll give--Oh!--I'll give you whatever you +ask!--</p> +<p class="i5">There is not a shrine</p> +<p class="i5">In the county shall shine</p> +<p class="i2">With a brilliancy half so resplendent as thine,</p> +<p class="i2">Or have so many candles, or look half so fine!--</p> +<p class="i2">Haste, holy St. Cuthbert, then,--hasten in +pity!--"</p> +</div> +<div class="stanza"> +<p class="i5">Conceive his surprise</p> +<p class="i5">When a strange voice replies,</p> +<p class="i2">"It's a bargain!--but, mind, sir, THE BEST +SPERMACETI!"--</p> +<p class="i2">Say, whose that voice?--whose that form by his +side,</p> +<p class="i2">That old, old, gray man, with his beard long and +wide,</p> +</div> +<div class="stanza"> +<p class="i5">In his coarse Palmer's weeds,</p> +<p class="i5">And his cockle and beads?--</p> +<p class="i2">And how did he come?--did he walk?--did he ride?</p> +<p class="i2">Oh! none could determine,--oh! none could +decide,--</p> +<p class="i2">The fact is, I don't believe any one tried;</p> +<p class="i2">For while every one stared, with a dignified +stride</p> +<p class="i5">And without a word more,</p> +<p class="i6">He marched on before,</p> +<p class="i2">Up a flight of stone steps, and so through the front +door,</p> +<p class="i2">To the banqueting-hall that was on the first +floor,</p> +<p class="i2">While the fiendish assembly were making a rare</p> +<p class="i2">Little shuttlecock there of the curly-wigged +Heir.</p> +<p class="i2">--I wish, gentle Reader, that you could have seen</p> +<p class="i2">The pause that ensued when he stepped in between,</p> +<p class="i2">With his resolute air, and his dignified mien,</p> +<p class="i2">And said, in a tone most decided though mild,</p> +<p class="i2">"Come! I'll trouble you just to hand over that +child!"</p> +</div> +<div class="stanza"> +<p class="i5">The Demoniac crowd</p> +<p class="i5">In an instant seemed cowed;</p> +<p class="i2">Not one of the crew volunteered a reply,</p> +<p class="i2">All shrunk from the glance of that keen-flashing +eye,</p> +<p class="i2">Save one horrid Humgruffin, who seemed by his +talk,</p> +<p class="i2">And the airs he assumed, to be cock of the walk.</p> +<p class="i2">He quailed not before it, but saucily met it,</p> +<p class="i2">And as saucily said, "Don't you wish you may get +it?"</p> +</div> +<div class="stanza"> +<p class="i2">My goodness!--the look that the old Palmer gave!</p> +<p>And his frown!--'twas quite dreadful to witness--"Why, +slave!</p> +<p class="i6">You rascal!" quoth he,</p> +<p class="i6">"This language to ME!</p> +<p class="i2">At once, Mr. Nicholas! down on your knee,</p> +<p class="i2">And hand me that curly-wigged boy!--I command +it--</p> +<p>Come!--none of your nonsense!--you know I won't stand it."</p> +</div> +<div class="stanza"> +<p class="i2">Old Nicholas trembled,--he shook in his shoes,</p> +<p class="i2">And seemed half inclined, but afraid, to refuse.</p> +<p class="i6">"Well, Cuthbert," said he,</p> +<p class="i6">"If so it must be,</p> +<p>For you've had your own way from the first time I knew ye;--</p> +<p>Take your curly-wigged brat, and much good may he do ye!</p> +<p class="i2">But I'll have in exchange"--here his eye flashed with +rage--</p> +<p class="i2">"That chap with the buttons--he <i>gave me</i> the +Page!"</p> +</div> +<div class="stanza"> +<p class="i2">"Come, come," the saint answered, "you very well +know</p> +<p class="i2">The young man's no more his than your own to +bestow.</p> +<p class="i2">Touch one button of his if you dare, Nick---no! +no!</p> +<p>Cut your stick, sir--come, mizzle! be off with you! go!"--</p> +<p class="i6">The Devil grew hot--</p> +<p class="i6">"If I do I'll be shot!</p> +<p class="i2">An you come to that, Cuthbert, I'll tell you what's +what;</p> +<p class="i2">He has <i>asked</i> us to <i>dine here</i>, and go we +will not!</p> +<p class="i5">Why, you Skinflint,--at least</p> +<p class="i5">You may leave us the feast!</p> +<p class="i2">Here we've come all that way from our brimstone +abode,</p> +<p class="i2">Ten million good leagues, sir, as ever you +strode,</p> +<p class="i2">And the deuce of a luncheon we've had on the +road--</p> +<p class="i2">'Go!'--'Mizzle!' indeed--Mr. Saint, who are you,</p> +<p class="i2">I should like to know?--'Go!' I'll be hanged if I +do!</p> +<p class="i2">He invited us all--we've a right here--it's known</p> +<p class="i2">That a Baron may do what he likes with his own--</p> +<p class="i2">Here, Asmodeus--a slice of that beef;--now the +mustard!--</p> +<p class="i2">What have <i>you</i> got?--oh, apple-pie--try it with +custard."</p> +</div> +<div class="stanza"> +<p class="i6">The Saint made a pause</p> +<p class="i6">As uncertain, because</p> +<p class="i2">He knew Nick is pretty well "up" in the laws,</p> +<p>And they <i>might</i> be on <i>his</i> side--and then, he'd such +claws!</p> +<p class="i2">On the whole, it was better, he thought, to +retire</p> +<p class="i2">With the curly-wigged boy he'd picked out of the +fire,</p> +<p class="i2">And give up the victuals--to retrace his path,</p> +<p class="i2">And to compromise--(spite of the Member for +Bath).</p> +<p class="i6">So to Old Nick's appeal,</p> +<p class="i6">As he turned on his heel,</p> +<p class="i2">He replied, "Well, I'll leave you the mutton and +veal,</p> +<p class="i1">And the soup <i>à la Reine</i>, and the sauce +<i>Bechamel;</i></p> +<p class="i1">As the Scroope <i>did</i> invite you to dinner, I +feel</p> +<p class="i2">I can't well turn you out--'twould be hardly +genteel---</p> +<p class="i2">But be moderate, pray,--and remember thus much,</p> +<p class="i1">Since you're treated as Gentlemen--show yourselves +such,</p> +<p class="i6">And don't make it late,</p> +<p class="i6">But mind and go straight</p> +<p>Home to bed when you've finished--and don't steal the plate,</p> +<p class="i2">Nor wrench off the knocker, or bell from the +gate.</p> +<p class="i2">Walk away, like respectable Devils, in peace,</p> +<p class="i2">And don't 'lark' with the watch, or annoy the +police!"</p> +</div> +<div class="stanza"> +<p class="i6">Having thus said his say,</p> +<p class="i8">That Palmer gray</p> +<p class="i2">Took up little La Scroope, and walked coolly +away,</p> +<p class="i2">While the Demons all set up a "Hip! hip! hurrah!"</p> +</div> +<div class="stanza"> +<p class="i2">Then fell, tooth and nail, on the victuals, as +they</p> +<p class="i2">Had been guests at Guildhall upon Lord Mayor's +day,</p> +<p class="i2">All scrambling and scuffling for what was before +'em,</p> +<p class="i2">No care for precedence or common decorum.</p> +<p class="i6">Few ate more hearty</p> +<p class="i6">Than Madame Astarte,</p> +<p class="i2">And Hecate,--considered the Belles of the party.</p> +<p class="i2">Between them was seated Leviathan, eager</p> +<p class="i2">To "do the polite," and take wine with Belphegor;</p> +<p class="i2">Here was <i>Morbleu</i> (a French devil), supping +soup-meagre,</p> +<p class="i2">And there, munching leeks, Davy Jones of Tredegar</p> +<p class="i2">(A Welsh one), who'd left the domains of Ap +Morgan</p> +<p class="i2">To "follow the sea,"--and next him Demogorgon,--</p> +<p class="i2">Then Pan with his pipes, and Fauns grinding the +organ</p> +<p class="i2">To Mammon and Belial, and half a score dancers,</p> +<p class="i2">Who'd joined with Medusa to get up 'the Lancers';</p> +<p class="i2">Here's Lucifer lying blind drunk with Scotch ale,</p> +<p class="i2">While Beelzebub's tying huge knots in his tail.</p> +<p class="i2">There's Setebos, storming because Mephistopheles</p> +<p class="i8">Gave him the lie,</p> +<p class="i6">Said he'd "blacken his eye,"</p> +<p class="i2">And dashed in his face a whole cup of hot +coffee-lees;--</p> +<p class="i8">Ramping and roaring,</p> +<p class="i8">Hiccoughing, snoring,</p> +<p class="i2">Never was seen such a riot before in</p> +<p class="i2">A gentleman's house, or such profligate reveling</p> +<p class="i2">At any <i>soirée</i>--where they don't let the +Devil in.</p> +</div> +<div class="stanza"> +<p class="i7">Hark! as sure as fate</p> +<p class="i7">The clock's striking Eight!</p> +<p class="i2">(An hour which our ancestors called "getting +late,")</p> +<p class="i2">When Nick, who by this time was rather elate,</p> +<p class="i2">Rose up and addressed them:--</p> +<p class="i11">"'Tis full time," he said,</p> +<p class="i2">"For all elderly Devils to be in their bed;</p> +<p class="i2">For my own part I mean to be jogging, because</p> +<p class="i2">I don't find myself now quite so young as I was;</p> +<p class="i2">But, Gentlemen, ere I depart from my post</p> +<p class="i2">I must call on you all for one bumper--the toast</p> +<p class="i2">Which I have to propose is,--OUR EXCELLENT HOST!</p> +<p class="i2">Many thanks for his kind hospitality--may</p> +<p class="i6"><i>We</i> also be able</p> +<p class="i6">To see at <i>our</i> table</p> +<p class="i2">Himself, and enjoy, in a family way,</p> +<p class="i2">His good company <i>down-stairs</i> at no distant +day!</p> +<p class="i4">You'd, I'm sure, think me rude</p> +<p class="i4">If I did not include,</p> +<p class="i1">In the toast my young friend there, the curly-wigged +Heir!</p> +<p class="i2">He's in very good hands, for you're all well +aware</p> +<p class="i2">That St. Cuthbert has taken him under his care;</p> +<p class="i4">Though I must not say 'bless,'--</p> +<p class="i5">Why, you'll easily guess,--</p> +<p class="i2">May our curly-wigged Friend's shadow never be +less!"</p> +<p class="i2">Nick took off his heel-taps--bowed--smiled---with an +air</p> +<p class="i2">Most graciously grim,--and vacated the chair.</p> +</div> +<div class="stanza"> +<p class="i8">Of course the <i>élite</i></p> +<p class="i7">Rose at once on their feet,</p> +<p class="i2">And followed their leader, and beat a retreat:</p> +<p class="i2">When a sky-larking Imp took the President's seat,</p> +<p class="i2">And requesting that each would replenish his cup,</p> +<p class="i2">Said, "Where we have dined, my boys, there let us +sup!"--</p> +<p class="i2">It was three in the morning before they broke +up!!!</p> +</div> +<div class="stanza"> +<hr style="width: 35%;"></div> +<div class="stanza"> +<p class="i6">I scarcely need say</p> +<p class="i6">Sir Guy didn't delay</p> +<p class="i2">To fulfill his vow made to St. Cuthbert, or pay</p> +<p class="i2">For the candles he'd promised, or make light as +day</p> +<p class="i2">The shrine he assured him he'd render so gay.</p> +<p class="i2">In fact, when the votaries came there to pray,</p> +<p class="i2">All said there was naught to compare with +it--nay,</p> +<p class="i5">For fear that the Abbey</p> +<p class="i5">Might think he was shabby,</p> +<p class="i2">Four Brethren, thenceforward, two cleric, two +lay,</p> +<p class="i2">He ordained should take charge of a new-founded +chantry,</p> +<p class="i2">With six marcs apiece, and some claims on the +pantry;</p> +<p class="i5">In short, the whole county</p> +<p class="i5">Declared, through his bounty,</p> +<p class="i2">The Abbey of Bolton exhibited fresh scenes</p> +<p class="i2">From any displayed since Sir William de Meschines</p> +<p class="i2">And Cecily Roumeli came to this nation</p> +<p class="i2">With William the Norman, and laid its foundation.</p> +</div> +<div class="stanza"> +<p class="i5">For the rest, it is said,</p> +<p class="i5">And I know I have read</p> +<p class="i2">In some Chronicle--whose, has gone out of my +head--</p> +</div> +<div class="stanza"> +<p class="i2">That what with these candles, and other expenses,</p> +<p class="i2">Which no man would go to if quite in his senses,</p> +<p class="i5">He reduced and brought low</p> +<p class="i7">His property so,</p> +<p class="i2">That at last he'd not much of it left to bestow;</p> +<p class="i2">And that many years after that terrible feast,</p> +<p class="i2">Sir Guy, in the Abbey, was living a priest;</p> +<p class="i2">And there, in one thousand +and---something--deceased.</p> +<p class="i5">(It's supposed by this trick</p> +<p class="i5">He bamboozled Old Nick,</p> +<p class="i2">And slipped through his fingers remarkably +"slick.")</p> +<p class="i2">While as to young Curly-wig,--dear little Soul,</p> +<p class="i2">Would you know more of him, you must look at "The +Roll,"</p> +<p class="i5">Which records the dispute,</p> +<p class="i5">And the subsequent suit,</p> +<p class="i2">Commenced in "Thirteen sev'nty-five,"--which took +root</p> +<p class="i2">In Le Grosvenor's assuming the arms Le Scroope +swore</p> +<p class="i2">That none but <i>his</i> ancestors, ever before,</p> +<p class="i2">In foray, joust, battle, or tournament wore,</p> +<p class="i2">To wit, "<i>On a Prussian-blue Field</i>, a <i>Bend +Or</i>;"</p> +<p class="i2">While the Grosvenor averred that <i>his</i> ancestors +bore</p> +<p class="i2">The same, and Scroope lied like a--somebody tore</p> +<p class="i2">Off the simile,--so I can tell you no more,</p> +<p class="i2">Till some A double S shall the fragment restore.</p> +</div> +<div class="stanza"> +<p class="i9">MORAL</p> +</div> +<div class="stanza"> +<p class="i4">This Legend sound maxims exemplifies--<i>e.g.</i></p> +</div> +<div class="stanza"> +<p>1<i>mo.</i> Should anything tease you,</p> +<p class="i6">Annoy, or displease you,</p> +<p class="i6">Remember what Lilly says, "<i>Animum rege!</i>"</p> +<p class="i2">And as for that shocking bad habit of swearing,--</p> +<p class="i2">In all good society voted past bearing,--</p> +<p class="i2">Eschew it! and leave it to dustmen and mobs,</p> +<p class="i1">Nor commit yourself much beyond "Zooks!" or +"Odsbobs!"</p> +</div> +<div class="stanza"> +<p>2<i>do.</i> When asked out to dine by a Person of Quality,</p> +<p class="i2">Mind, and observe the most strict punctuality!</p> +<p class="i6">For should you come late,</p> +<p class="i6">And make dinner wait,</p> +<p class="i2">And the victuals get cold, you'll incur, sure as +fate,</p> +<p class="i2">The Master's displeasure, the Mistress's hate.</p> +<p class="i1">And though both may perhaps be too well-bred to +swear,</p> +<p class="i2">They'll heartily <i>wish</i> you--I will not say +<i>Where</i>.</p> +</div> +<div class="stanza"> +<p>3<i>tio.</i> Look well to your Maid-servants!--say you expect +them</p> +<p class="i4">To see to the children, and not to neglect them!</p> +<p class="i4">And if you're a widower, just throw a cursory</p> +<p class="i4">Glance in, at times, when you go near the +Nursery.</p> +<p class="i4">Perhaps it's as well to keep children from plums,</p> +<p class="i4">And from pears in the season,--and sucking their +thumbs!</p> +</div> +<div class="stanza"> +<p>4<i>to.</i> To sum up the whole with a "saw" of much use,</p> +<p class="i4">Be <i>just</i> and be <i>generous</i>,--don't be +<i>profuse!</i>--</p> +<p class="i4">Pay the debts that you owe, keep your word to your +friends,</p> +<p class="i4">But--DON'T SET YOUR CANDLES ALIGHT AT BOTH +ENDS!!--</p> +<p class="i4">For of this be assured, if you "go it" too fast,</p> +<p class="i6">You'll be "dished" like Sir Guy,</p> +<p class="i6">And like him, perhaps, die</p> +<p class="i4">A poor, old, half-starved Country Parson at last!</p> +</div> +</div> +<br> +<br> +<a name="BARHAM_03"></a> +<center><b>A LAY OF ST. NICHOLAS</b></center> +<br> +<blockquote>"Statim sacerdoti apparuit diabolus in specie +puellæ pulchritudinis miræ, et ecce Divus, fide +catholicâ, et cruce, et aquâ benedicta armatus venit, +et aspersit aquam in nomine Sanctæ et Individuæ +Trinitatis, quam, quasi ardentem, diabolus, nequaquam sustinere +valens, mugitibus fugit."--ROGER HOVEDEN.</blockquote> +<br> +<div class="poem"> +<div class="stanza"> +<p class="i4">"Lord Abbot! Lord Abbot! I'd fain confess;</p> +<p class="i5">I am a-weary, and worn with woe;</p> +<p class="i4">Many a grief doth my heart oppress,</p> +<p class="i5">And haunt me whithersoever I go!"</p> +</div> +<div class="stanza"> +<p class="i4">On bended knee spake the beautiful Maid;</p> +<p class="i5">"Now lithe and listen, Lord Abbot, to me!"--</p> +<p class="i4">"Now naye, fair daughter," the Lord Abbot said,</p> +<p class="i5">"Now naye, in sooth it may hardly be.</p> +</div> +<div class="stanza"> +<p class="i4">"There is Mess Michael, and holy Mess John,</p> +<p class="i5">Sage penitauncers I ween be they!</p> +<p class="i4">And hard by doth dwell, in St. Catherine's cell,</p> +<p class="i5">Ambrose, the anchorite old and gray!"</p> +</div> +<div class="stanza"> +<p class="i4">--"Oh, I will have none of Ambrose or John,</p> +<p class="i5">Though sage penitauncers I trow they be;</p> +<p class="i4">Shrive me may none save the Abbot alone--</p> +<p class="i5">Now listen, Lord Abbot, I speak to thee.</p> +</div> +<div class="stanza"> +<p class="i4">"Nor think foul scorn, though mitre adorn</p> +<p class="i5">Thy brow, to listen to shrift of mine!</p> +<p class="i4">I am a maiden royally born,</p> +<p class="i5">And I come of old Plantagenet's line.</p> +</div> +<div class="stanza"> +<p class="i4">"Though hither I stray in lowly array,</p> +<p class="i5">I am a damsel of high degree;</p> +<p class="i4">And the Compte of Eu, and the Lord of Ponthieu,</p> +<p class="i5">They serve my father on bended knee!</p> +</div> +<div class="stanza"> +<p class="i4">"Counts a many, and Dukes a few,</p> +<p class="i5">A suitoring came to my father's Hall;</p> +<p class="i4">But the Duke of Lorraine, with his large domain,</p> +<p class="i5">He pleased my father beyond them all.</p> +</div> +<div class="stanza"> +<p class="i4">"Dukes a many, and Counts a few,</p> +<p class="i5">I would have wedded right cheerfullie;</p> +<p class="i4">But the Duke of Lorraine was uncommonly plain,</p> +<p class="i5">And I vowed that he ne'er should my bridegroom +be!</p> +</div> +<div class="stanza"> +<p class="i4">"So hither I fly, in lowly guise,</p> +<p class="i5">From their gilded domes and their princely halls;</p> +<p class="i4">Fain would I dwell in some holy cell,</p> +<p class="i5">Or within some Convent's peaceful walls!"</p> +</div> +<div class="stanza"> +<p class="i4">--Then out and spake that proud Lord Abbot,</p> +<p class="i5">"Now rest thee, fair daughter, withouten fear.</p> +<p class="i4">Nor Count nor Duke but shall meet the rebuke</p> +<p class="i5">Of Holy Church an he seek thee here:</p> +</div> +<div class="stanza"> +<p class="i4">"Holy Church denieth all search</p> +<p class="i5">'Midst her sanctified ewes and her saintly rams,</p> +<p class="i4">And the wolves doth mock who would scathe her +flock,</p> +<p class="i5">Or, especially, worry her little pet lambs.</p> +</div> +<div class="stanza"> +<p class="i4">"Then lay, fair daughter, thy fears aside,</p> +<p class="i5">For here this day shalt thou dine with me!"--</p> +<p class="i4">"Now naye, now naye," the fair maiden cried;</p> +<p class="i5">"In sooth, Lord Abbot, that scarce may be!</p> +</div> +<div class="stanza"> +<p class="i4">"Friends would whisper, and foes would frown,</p> +<p class="i5">Sith thou art a Churchman of high degree,</p> +<p class="i4">And ill mote it match with thy fair renown</p> +<p class="i5">That a wandering damsel dine with thee!</p> +</div> +<div class="stanza"> +<p class="i4">"There is Simon the Deacon hath pulse in store,</p> +<p class="i5">With beans and lettuces fair to see:</p> +<p class="i4">His lenten fare now let me share,</p> +<p class="i5">I pray thee, Lord Abbot, in charitie!"</p> +</div> +<div class="stanza"> +<p class="i4">--"Though Simon the Deacon hath pulse in store,</p> +<p class="i5">To our patron Saint foul shame it were</p> +<p class="i4">Should wayworn guest, with toil oppressed,</p> +<p class="i5">Meet in his Abbey such churlish fare.</p> +</div> +<div class="stanza"> +<p class="i4">"There is Peter the Prior, and Francis the Friar,</p> +<p class="i5">And Roger the Monk shall our convives be;</p> +<p class="i4">Small scandal I ween shall then be seen:</p> +<p class="i5">They are a goodly companie!"</p> +</div> +<div class="stanza"> +<p class="i4">The Abbot hath donned his mitre and ring,</p> +<p class="i5">His rich dalmatic, and maniple fine;</p> +<p class="i4">And the choristers sing, as the lay-brothers +bring</p> +<p class="i5">To the board a magnificent turkey and chine.</p> +</div> +<div class="stanza"> +<p class="i4">The turkey and chine, they are done to a nicety;</p> +<p class="i5">Liver, and gizzard, and all are there;</p> +<p class="i4">Ne'er mote Lord Abbot pronounce <i>Benedicite</i></p> +<p class="i5">Over more luscious or delicate fare.</p> +</div> +<div class="stanza"> +<p class="i4">But no pious stave he, no <i>Pater</i> or +<i>Ave</i></p> +<p class="i5">Pronounced, as he gazed on that maiden's face;</p> +<p class="i4">She asked him for stuffing, she asked him for +gravy,</p> +<p class="i5">She asked him for gizzard;--but not for grace!</p> +</div> +<div class="stanza"> +<p class="i4">Yet gayly the Lord Abbot smiled, and pressed,</p> +<p class="i5">And the blood-red wine in the wine-cup filled;</p> +<p class="i4">And he helped his guest to a bit of the breast,</p> +<p class="i5">And he sent the drumsticks down to be grilled.</p> +</div> +<div class="stanza"> +<p class="i4">There was no lack of the old Sherris sack,</p> +<p class="i5">Of Hippocras fine, or of Malmsey bright;</p> +<p class="i4">And aye, as he drained off his cup with a smack,</p> +<p class="i5">He grew less pious and more polite.</p> +</div> +<div class="stanza"> +<p class="i4">She pledged him once, and she pledged him twice,</p> +<p class="i5">And she drank as Lady ought not to drink;</p> +<p class="i4">And he pressed her hand 'neath the table thrice,</p> +<p class="i5">And he winked as Abbot ought not to wink.</p> +</div> +<div class="stanza"> +<p class="i4">And Peter the Prior, and Francis the Friar,</p> +<p class="i5">Sat each with a napkin under his chin;</p> +<p class="i4">But Roger the Monk got excessively drunk,</p> +<p class="i5">So they put him to bed, and they tucked him in!</p> +</div> +<div class="stanza"> +<p class="i4">The lay-brothers gazed on each other, amazed;</p> +<p class="i5">And Simon the Deacon, with grief and surprise.</p> +<p class="i4">As he peeped through the key-hole, could scarce fancy +real</p> +<p class="i5">The scene he beheld, or believe his own eyes.</p> +</div> +<div class="stanza"> +<p class="i4">In his ear was ringing the Lord Abbot singing--</p> +<p class="i5">He could not distinguish the words very plain,</p> +<p class="i4">But 'twas all about "Cole," and "jolly old Soul,"</p> +<p class="i5">And "Fiddlers," and "Punch," and things quite as +profane.</p> +</div> +<div class="stanza"> +<p class="i4">Even Porter Paul, at the sound of such reveling,</p> +<p class="i5">With fervor himself began to bless;</p> +<p class="i4">For he thought he must somehow have let the Devil +in--</p> +<p class="i5">And perhaps was not very much out in his guess.</p> +</div> +<div class="stanza"> +<p class="i4">The Accusing Byers[<a name="FNanchor1"></a><a href="#Footnote_1">1</a>] "flew up to Heaven's +Chancery,"</p> +<p class="i5">Blushing like scarlet with shame and concern;</p> +<p class="i4">The Archangel took down his tale, and in answer +he</p> +<p class="i5">Wept (see the works of the late Mr. Sterne).</p> +</div> +<div class="stanza"> +<p class="i4">Indeed, it is said, a less taking both were in</p> +<p class="i5">When, after a lapse of a great many years,</p> +<p class="i4">They booked Uncle Toby five shillings for +swearing,</p> +<p class="i5">And blotted the fine out again with their tears!</p> +</div> +<div class="stanza"> +<p class="i4">But St. Nicholas's agony who may paint?</p> +<p class="i5">His senses at first were well-nigh gone;</p> +<p class="i4">The beatified saint was ready to faint</p> +<p class="i5">When he saw in his Abbey such sad goings on!</p> +</div> +<div class="stanza"> +<p class="i4">For never, I ween, had such doings been seen</p> +<p class="i5">There before, from the time that most excellent +Prince,</p> +<p class="i4">Earl Baldwin of Flanders, and other Commanders,</p> +<p class="i5">Had built and endowed it some centuries since.</p> +</div> +<div class="stanza"> +<p class="i4">--But hark--'tis a sound from the outermost gate:</p> +<p class="i5">A startling sound from a powerful blow.--</p> +<p class="i4">Who knocks so late?--it is half after eight</p> +<p class="i5">By the clock,--and the clock's five minutes too +slow.</p> +</div> +<div class="stanza"> +<p class="i4">Never, perhaps, had such loud double raps</p> +<p class="i5">Been heard in St. Nicholas's Abbey before;</p> +<p class="i4">All agreed "it was shocking to keep people +knocking,"</p> +<p class="i5">But none seemed inclined to "answer the door."</p> +</div> +<div class="stanza"> +<p class="i4">Now a louder bang through the cloisters rang,</p> +<p class="i5">And the gate on its hinges wide open flew;</p> +<p class="i4">And all were aware of a Palmer there,</p> +<p class="i5">With his cockle, hat, staff, and his sandal shoe.</p> +</div> +<div class="stanza"> +<p class="i4">Many a furrow, and many a frown,</p> +<p class="i5">By toil and time on his brow were traced;</p> +<p class="i4">And his long loose gown was of ginger brown,</p> +<p class="i5">And his rosary dangled below his waist.</p> +</div> +<div class="stanza"> +<p class="i4">Now seldom, I ween, is such costume seen,</p> +<p class="i5">Except at a stage-play or masquerade;</p> +<p class="i4">But who doth not know it was rather the go</p> +<p class="i5">With Pilgrims and Saints in the second Crusade?</p> +</div> +<div class="stanza"> +<p class="i4">With noiseless stride did that Palmer glide</p> +<p class="i5">Across that oaken floor;</p> +<p class="i4">And he made them all jump, he gave such a thump</p> +<p class="i5">Against the Refectory door!</p> +</div> +<div class="stanza"> +<p class="i4">Wide open it flew, and plain to the view</p> +<p class="i5">The Lord Abbot they all mote see;</p> +<p class="i4">In his hand was a cup and he lifted it up,</p> +<p class="i5">"Here's the Pope's good health with three!"</p> +</div> +<div class="stanza"> +<p class="i4">Rang in their ears three deafening cheers,</p> +<p class="i5">"Huzza! huzza! huzza!"</p> +<p class="i4">And one of the party said, "Go it, my hearty!"--</p> +<p class="i5">When outspake that Pilgrim gray--</p> +</div> +<div class="stanza"> +<p class="i4">"A boon, Lord Abbot! a boon! a boon!</p> +<p class="i5">Worn is my foot, and empty my scrip;</p> +<p class="i4">And nothing to speak of since yesterday noon</p> +<p class="i5">Of food, Lord Abbot, hath passed my lip.</p> +</div> +<div class="stanza"> +<p class="i4">"And I am come from a far countree,</p> +<p class="i5">And have visited many a holy shrine;</p> +<p class="i4">And long have I trod the sacred sod</p> +<p class="i5">Where the Saints do rest in Palestine!"--</p> +</div> +<div class="stanza"> +<p class="i4">"An thou art come from a far countree,</p> +<p class="i5">And if thou in Paynim lands hast been,</p> +<p class="i4">Now rede me aright the most wonderful sight,</p> +<p class="i5">Thou Palmer gray, that thine eyes have seen.</p> +</div> +<div class="stanza"> +<p class="i4">"Arede me aright the most wonderful sight,</p> +<p class="i5">Gray Palmer, that ever thine eyes did see,</p> +<p class="i4">And a manchette of bread, and a good warm bed,</p> +<p class="i5">And a cup o' the best shall thy guerdon be!"</p> +</div> +<div class="stanza"> +<p class="i4">"Oh! I have been east, and I have been west,</p> +<p class="i5">And I have seen many a wonderful sight;</p> +<p class="i4">But never to me did it happen to see</p> +<p class="i5">A wonder like that which I see this night!</p> +</div> +<div class="stanza"> +<p class="i4">"To see a Lord Abbot, in rochet and stole,</p> +<p class="i5">With Prior and Friar,--a strange mar-velle!--</p> +<p class="i4">O'er a jolly full bowl, sitting cheek by jowl,</p> +<p class="i5">And hob-nobbing away with a Devil from Hell!"</p> +</div> +<div class="stanza"> +<p class="i4">He felt in his gown of ginger brown,</p> +<p class="i5">And he pulled out a flask from beneath;</p> +<p class="i4">It was rather tough work to get out the cork,</p> +<p class="i5">But he drew it at last with his teeth.</p> +</div> +<div class="stanza"> +<p class="i4">O'er a pint and a quarter of holy water,</p> +<p class="i5">He made a sacred sign;</p> +<p class="i4">And he dashed the whole on the <i>soi-disant</i> +daughter</p> +<p class="i5">Of old Plantagenet's line!</p> +</div> +<div class="stanza"> +<p class="i4">Oh! then did she reek, and squeak, and shriek,</p> +<p class="i5">With a wild unearthly scream;</p> +<p class="i4">And fizzled, and hissed, and produced such a +mist,</p> +<p class="i5">They were all half-choked by the steam.</p> +</div> +<div class="stanza"> +<p class="i4">Her dove-like eyes turned to coals of fire,</p> +<p class="i5">Her beautiful nose to a horrible snout,</p> +<p class="i4">Her hands to paws, with nasty great claws,</p> +<p class="i5">And her bosom went in and her tail came out.</p> +</div> +<div class="stanza"> +<p class="i4">On her chin there appeared a long Nanny-goat's +beard,</p> +<p class="i5">And her tusks and her teeth no man mote tell;</p> +<p class="i4">And her horns and her hoofs gave infallible +proofs</p> +<p class="i5">'Twas a frightful Fiend from the nethermost hell!</p> +</div> +<div class="stanza"> +<p class="i4">The Palmer threw down his ginger gown,</p> +<p class="i5">His hat and his cockle; and, plain to sight,</p> +<p class="i4">Stood St. Nicholas' self, and his shaven crown</p> +<p class="i5">Had a glow-worm halo of heavenly light.</p> +</div> +<div class="stanza"> +<p class="i4">The fiend made a grasp the Abbot to clasp;</p> +<p class="i5">But St. Nicholas lifted his holy toe,</p> +<p class="i4">And, just in the nick, let fly such a kick</p> +<p class="i5">On his elderly namesake, he made him let go.</p> +</div> +<div class="stanza"> +<p class="i4">And out of the window he flew like a shot,</p> +<p class="i5">For the foot flew up with a terrible thwack,</p> +<p class="i4">And caught the foul demon about the spot</p> +<p class="i5">Where his tail joins on to the small of his back.</p> +</div> +<div class="stanza"> +<p class="i4">And he bounded away like a foot-ball at play,</p> +<p class="i5">Till into the bottomless pit he fell slap,</p> +<p class="i4">Knocking Mammon the meagre o'er pursy Belphegor,</p> +<p class="i5">And Lucifer into Beëlzebub's lap.</p> +</div> +<div class="stanza"> +<p class="i4">Oh! happy the slip from his Succubine grip,</p> +<p class="i5">That saved the Lord Abbot,--though breathless with +fright,</p> +<p class="i4">In escaping he tumbled, and fractured his hip,</p> +<p class="i5">And his left leg was shorter thenceforth than his +right!</p> +</div> +<div class="stanza"> +<hr style="width: 35%;"></div> +<div class="stanza"> +<p class="i4">On the banks of the Rhine, as he's stopping to +dine,</p> +<p class="i5">From a certain inn-window the traveler is shown</p> +<p class="i4">Most picturesque ruins, the scene of these +doings,</p> +<p class="i5">Some miles up the river south-east of Cologne.</p> +</div> +<div class="stanza"> +<p class="i4">And while "<i>sauer-kraut</i>" she sells you, the +landlady tells you</p> +<p class="i5">That there, in those walls all roofless and bare,</p> +<p class="i4">One Simon, a Deacon, from a lean grew a sleek one</p> +<p class="i5">On filling a <i>ci-devant</i> Abbot's state +chair.</p> +</div> +<div class="stanza"> +<p class="i4">How a <i>ci-devant</i> Abbot, all clothed in drab, +but</p> +<p class="i5">Of texture the coarsest, hair shirt and no shoes</p> +<p class="i4">(His mitre and ring, and all that sort of thing</p> +<p class="i5">Laid aside), in yon cave lived a pious recluse;</p> +</div> +<div class="stanza"> +<p class="i4">How he rose with the sun, limping "dot and go +one,"</p> +<p class="i5">To yon rill of the mountain, in all sorts of +weather,</p> +<p class="i4">Where a Prior and a Friar, who lived somewhat +higher</p> +<p class="i5">Up the rock, used to come and eat cresses +together;</p> +</div> +<div class="stanza"> +<p class="i4">How a thirsty old codger the neighbors called +Roger,</p> +<p class="i5">With them drank cold water in lieu of old wine!</p> +<p class="i4">What its quality wanted he made up in quantity,</p> +<p class="i5">Swigging as though he would empty the Rhine!</p> +</div> +<div class="stanza"> +<p class="i4">And how, as their bodily strength failed, the mental +man</p> +<p class="i5">Gained tenfold vigor and force in all four;</p> +<p class="i4">And how, to the day of their death, the "Old +Gentleman"</p> +<p class="i5">Never attempted to kidnap them more.</p> +</div> +<div class="stanza"> +<p class="i4">And how, when at length, in the odor of sanctity,</p> +<p class="i5">All of them died without grief or complaint,</p> +<p class="i4">The monks of St. Nicholas said 'twas ridiculous</p> +<p class="i5">Not to suppose every one was a Saint.</p> +</div> +<div class="stanza"> +<p class="i4">And how, in the Abbey, no one was so shabby</p> +<p class="i5">As not to say yearly four masses ahead,</p> +<p class="i4">On the eve of that supper, and kick on the +crupper</p> +<p class="i5">Which Satan received, for the souls of the dead!</p> +</div> +<div class="stanza"> +<p class="i4">How folks long held in reverence their reliques and +memories,</p> +<p class="i5">How the <i>ci-devant</i> Abbot's obtained greater +still,</p> +<p class="i4">When some cripples, on touching his fractured <i>os +femoris</i>,</p> +<p class="i5">Threw down their crutches and danced a quadrille!</p> +</div> +<div class="stanza"> +<p class="i4">And how Abbot Simon (who turned out a prime one)</p> +<p class="i5">These words, which grew into a proverb full soon,</p> +<p class="i4">O'er the late Abbot's grotto, stuck up as a +motto,</p> +<p class="i5">"<b>Who Suppes with the Deville sholde have a long +spoone!</b>"</p> +</div> +</div> +<br> +<blockquote><a name="Footnote_1"></a><a href="#FNanchor1">[1]</a> +The Prince of Peripatetic Informers, and terror of<br> +Stage Coachmen, when such things were.</blockquote> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BARING"></a> +<h2>SABINE BARING-GOULD</h2> +<h3>(1834-)</h3> +<br> +<p class="par"><img src="images/letter-t.png" width="30%" alt= +""></p> +<p>he Rev. Sabine Baring-Gould was born in Exeter, England, in +1834. The addition of Gould to the name of Baring came in the time +of his great-grandfather, a brother of Sir Francis Baring, who +married an only daughter and heiress of W.D. Gould of Devonshire. +Much of the early life of Baring-Gould was passed in Germany and +France, and at Clare College, Cambridge, where he graduated in +1854, taking orders ten years later, and in 1881 becoming rector of +Lew Trenchard, Devonshire, where he holds estates and privileges +belonging to his family.</p> +<p>He has worked in many fields, and in all with so much acceptance +that a list of his books would be the best exposition of the range +of his untiring pen. To a gift of ready words and ready +illustration, whether he concerns himself with diversities of early +Christian belief, the course of country-dances in England, or the +growth of mediaeval legends, he adds the grace of telling a tale +and drawing a character. He has published nearly a hundred volumes, +not one of them unreadable. But no one man may write with equal pen +of German history, of comparative mythology and philology, of +theological dissertations, and of the pleasures of English rural +life, while he adds to these a long list of novels.</p> +<p>His secret of popularity lies not in his treatment, which is +neither critical nor scientific, but rather in a clever, easy, +diffuse, jovial, amusing way of saying clearly what at the moment +comes to him to say. His books have a certain raciness and spirit +that recall the English squire of tradition. They rarely smell of +the lamp. Now and then appears a strain of sturdy scholarship, +leading the reader to wonder what his author might have +accomplished had he not enjoyed the comfortable ease of a country +justice of the peace, and a rector with large landed estates, to +whom his poorer neighbors appear a sort of dancing puppets.</p> +<p>Between 1857 and 1870, Baring-Gould had published nine volumes, +the best known of these being 'Curious Myths of the Middle Ages.' +From 1870 to 1890 his name appeared as author on the title-page of +forty-three books: sermons, lectures, essays, archaeological +treatises, memoirs, curiosities of literature, histories, and +fiction; sixteen novels, tales, and romances being included. From +1890 to 1896 he published seventeen more novels, and many of his +books have passed through several editions. His most successful +novels are 'Mehalah; a Tale of the Salt Marshes,' 'In the Roar of +the Sea,' 'Red Spider,' 'Richard Cable,' and 'Noémi; a Story +of Rock-Dwellers.'</p> +<p>In an essay upon his fiction, Mr. J.M. Barrie writes in The +Contemporary Review (February, 1890):--</p> +<blockquote>"Of our eight or ten living novelists who are popular +by merit, few have greater ability than Mr. Baring-Gould. His +characters are bold and forcible figures, his wit is as ready as +his figures of speech are apt. He has a powerful imagination, and +is quaintly fanciful. When he describes a storm, we can see his +trees breaking in the gale. So enormous and accurate is his general +information that there is no trade or profession with which he does +not seem familiar. So far as scientific knowledge is concerned, he +is obviously better equipped than any contemporary writer of +fiction. Yet one rises from his books with a feeling of repulsion, +or at least with the glad conviction that his ignoble views of life +are as untrue as the characters who illustrate them. Here is a +melancholy case of a novelist, not only clever but sincere, undone +by want of sympathy. . . . The author's want of sympathy prevents +'Mehalah's' rising to the highest art; for though we shudder at the +end, there the effect of the story stops. It illustrates the +futility of battling with fate, but the theme is not allowable to +writers with the modern notion of a Supreme Power. . . . But +'Mehalah' is still one of the most powerful romances of recent +years."</blockquote> +<br> +<a name="BARING_01"></a> +<center><b>ST. PATRICK'S PURGATORY</b></center> +<br> +<center>From 'Curious Myths of the Middle Ages'</center> +<br> +<p>In that charming mediaeval romance 'Fortunatus and his Sons,' +which by the way is a treasury of popular mythology, is an account +of a visit paid by the favored youth to that cave of mystery in +Lough Derg, the Purgatory of St. Patrick.</p> +<p>Fortunatus, we are told, had heard in his travels of how two +days' journey from the town Valdric, in Ireland, was a town, +Vernic, where was the entrance to the Purgatory; so thither he went +with many servants. He found a great abbey, and behind the altar of +the church a door, which led into the dark cave which is called the +Purgatory of St. Patrick. In order to enter it, leave had to be +obtained from the abbot; consequently Leopold, servant to +Fortunatus, betook himself to that worthy and made known to him +that a nobleman from Cyprus desired to enter the mysterious cavern. +The abbot at once requested Leopold to bring his master to supper +with him. Fortunatus bought a large jar of wine and sent it as a +present to the monastery, and followed at the meal-time.</p> +<p>"Venerable sir!" said Fortunatus, "I understand the Purgatory of +St. Patrick is here: is it so?"</p> +<p>The abbot replied, "It is so indeed. Many hundred years ago, +this place, where stand the abbey and the town, was a howling +wilderness. Not far off, however, lived a venerable hermit, Patrick +by name, who often sought the desert for the purpose of therein +exercising his austerities. One day he lighted on this cave, which +is of vast extent. He entered it, and wandering on in the dark, +lost his way, so that he could no more find how to return to the +light of day. After long ramblings through the gloomy passages, he +fell on his knees and besought Almighty God, if it were His will, +to deliver him from the great peril wherein he lay. Whilst Patrick +thus prayed, he was ware of piteous cries issuing from the depths +of the cave, just such as would be the wailings of souls in +purgatory. The hermit rose from his orison, and by God's mercy +found his way back to the surface, and from that day exercised +greater austerities, and after his death he was numbered with the +saints. Pious people, who had heard the story of Patrick's +adventure in the cave, built this cloister on the site."</p> +<p>Then Fortunatus asked whether all who ventured into the place +heard likewise the howls of the tormented souls.</p> +<p>The abbot replied, "Some have affirmed that they have heard a +bitter crying and piping therein; whilst others have heard and seen +nothing. No one, however, has penetrated as yet to the furthest +limits of the cavern."</p> +<p>Fortunatus then asked permission to enter, and the abbot +cheerfully consented, only stipulating that his guest should keep +near the entrance and not ramble too far, as some who had ventured +in had never returned.</p> +<p>Next day early, Fortunatus received the Blessed Sacrament with +his trusty Leopold; the door of the Purgatory was unlocked, each +was provided with a taper, and then with the blessing of the abbot +they were left in total darkness, and the door bolted behind them. +Both wandered on in the cave, hearing faintly the chanting of the +monks in the church, till the sound died away. They traversed +several passages, lost their way, their candles burned out, and +they sat down in despair on the ground, a prey to hunger, thirst, +and fear.</p> +<p>The monks waited in the church hour after hour; and the visitors +of the Purgatory had not returned. Day declined, vespers were sung, +and still there was no sign of the two who in the morning had +passed from the church into the cave. Then the servants of +Fortunatus began to exhibit anger, and to insist on their master +being restored to them. The abbot was frightened, and sent for an +old man who had once penetrated far into the cave with a ball of +twine, the end attached to the door-handle. This man volunteered to +seek Fortunatus, and providentially his search was successful. +After this the abbot refused permission to any one to visit the +cave.</p> +<p>In the reign of Henry II. lived Henry of Saltrey, who wrote a +history of the visit of a Knight Owen to the Purgatory of St. +Patrick, which gained immense popularity, ... was soon translated +into other languages, and spread the fable through mediaeval +Europe.... In English there are two versions. In one of these, +'Owayne Miles,' the origin of the purgatory is thus +described:--</p> +<blockquote>"Holy byschoppes some tyme ther were,<br> +That tawgte me of Goddes lore.<br> +In Irlonde preched Seyn Patryke;<br> +In that londe was non hym lyke:<br> +He prechede Goddes worde full wyde,<br> +And tolde men what shullde betyde.<br> +Fyrste he preched of Heven blysse,<br> +Who ever go thyder may ryght nowgt mysse:<br> +Sethen he preched of Hell pyne,<br> +Howe we them ys that cometh therinne:<br> +And then he preched of purgatory,<br> +As he fonde in hisstory;<br> +But yet the folke of the contré<br> +Beleved not that hit mygth be;<br> +And seyed, but gyf hit were so,<br> +That eny non myth hymself go,<br> +And se alle that, and come ageyn,<br> +Then wolde they beleve fayn."</blockquote> +<p>Vexed at the obstinacy of his hearers, St. Patrick besought the +Almighty to make the truth manifest to the unbelievers; +whereupon</p> +<blockquote>"God spakke to Saynt Patryke tho<br> +By nam, and badde hym with Hym go:<br> +He ladde hym ynte a wyldernesse,<br> +Wher was no reste more no lesse,<br> +And shewed that he might se<br> +Inte the erthe a pryvé entré:<br> +Hit was yn a depe dyches ende.<br> +'What mon,' He sayde, 'that wylle hereyn wende,<br> +And dwelle theryn a day and a nyght,<br> +And hold his byleve and ryght,<br> +And come ageyn that he ne dwelle,<br> +Mony a mervayle he may of telle.<br> +And alle tho that doth thys pylgrymage,<br> +I shalle hem graunt for her wage,<br> +Whether he be sqwyer or knave,<br> +Other purgatorye shalle he non have.'"</blockquote> +<p>Thereupon St. Patrick, "he ne stynte ner day ne night," till he +had built there a "fayr abbey," and stocked it with pious canons. +Then he made a door to the cave, and locked the door, and gave the +key to the keeping of the prior. The Knight Owain, who had served +under King Stephen, had lived a life of violence and dissolution; +but filled with repentance, he sought by way of penance St. +Patrick's Purgatory. Fifteen days he spent in preliminary devotions +and alms-deeds, and then he heard mass, was washed with holy water, +received the Holy Sacrament, and followed the sacred relics in +procession, whilst the priests sang for him the Litany, "as lowde +as they mygth crye." Then Sir Owain was locked in the cave, and he +groped his way onward in darkness, till he reached a glimmering +light; this brightened, and he came out into an underground land, +where was a great hall and cloister, in which were men with shaven +heads and white garments. These men informed the knight how he was +to protect himself against the assaults of evil spirits. After +having received this instruction, he heard "grete dynn," and</p> +<blockquote> "Then come ther develes on every syde,<br> +Wykked gostes, I wote, fro Helle,<br> +So mony that no tonge mygte telle:<br> +They fylled the hows yn two rowes;<br> +Some grenned on hym and some mad mowes."</blockquote> +<p>He then visits the different places of torment. In one, the +souls are nailed to the ground with glowing hot brazen nails; in +another they are fastened to the soil by their hair, and are bitten +by fiery reptiles. In another, again, they are hung over fires by +those members which had sinned, whilst others are roasted on spits. +In one place were pits in which were molten metals. In these pits +were men and women, some up to their chins, others to their +breasts, others to their hams. The knight was pushed by the devils +into one of these pits and was dreadfully scalded, but he cried to +the Savior and escaped. Then he visited a lake where souls were +tormented with great cold; and a river of pitch, which he crossed +on a frail and narrow bridge. Beyond this bridge was a wall of +glass, in which opened a beautiful gate, which conducted into +Paradise. This place so delighted him that he would fain have +remained in it had he been suffered, but he was bidden return to +earth and finish there his penitence. He was put into a shorter and +pleasanter way back to the cave than that by which he had come; and +the prior found the knight next morning at the door, waiting to be +let out, and full of his adventures. He afterwards went on a +pilgrimage to the Holy Land, and ended his life in piety....</p> +<p>Froissart tells us of a conversation he had with one Sir William +Lisle, who had been in the Purgatory. "I asked him of what sort was +the cave that is in Ireland, called St. Patrick's Purgatory, and if +that were true which was related of it. He replied that there +certainly was such a cave, for he and another English knight had +been there whilst the king was at Dublin, and said that they +entered the cave, and were shut in as the sun set, and that they +remained there all night and left it next morning at sunrise. And +then I asked if he had seen the strange sights and visions spoken +of. Then he said that when he and his companion had passed the gate +of the Purgatory of St. Patrick, that they had descended as though +into a cellar, and that a hot vapor rose towards them and so +affected their heads that they were obliged to sit down on the +stone steps. And after sitting there awhile they felt heavy with +sleep, and so fell asleep, and slept all night. Then I asked if +they knew where they were in their sleep, and what sort of dreams +they had had; he answered that they had been oppressed with many +fancies and wonderful dreams, different from those they were +accustomed to in their chambers; and in the morning when they went +out, in a short while they had clean forgotten their dreams and +visions; wherefore he concluded that the whole matter was +fancy."</p> +<p>The next to give us an account of his descent into St. Patrick's +Purgatory is William Staunton of Durham, who went down into the +cave on the Friday next after the feast of Holyrood, in the year +1409.</p> +<p>"I was put in by the Prior of St. Matthew, of the same +Purgatory, with procession and devout prayers of the prior, and the +convent gave me an orison to bless me with, and to write the first +word in my forehead, the which prayer is this, 'Jhesu Christe, Fili +Dei vivi, miserere mihi peccatori.' And the prior taught me to say +this prayer when any spirit, good or evil, appeared unto me, or +when I heard any noise that I should be afraid of." When left in +the cave, William fell asleep, and dreamed that he saw coming to +him St. John of Bridlington and St. Ive, who undertook to conduct +him through the scenes of mystery. After they had proceeded a +while, William was found to be guilty of a trespass against Holy +Church, of which he had to be purged before he could proceed much +further. Of this trespass he was accused by his sister, who +appeared in the way. "I make my complaint unto you against my +brother that here standeth; for this man that standeth hereby loved +me, and I loved him, and either of us would have had the other +according to God's law, as Holy Church teaches, and I should have +gotten of me three-souls to God, but my brother hindered us from +marrying." St. John of Bridlington then turned to William, and +asked him why he did not allow the two who loved one another to be +married. "I tell thee there is no man that hindereth man or woman +from being united in the bond of God, though the man be a shepherd +and all his ancestors and the woman be come of kings or of +emperors, or if the man be come of never so high kin and the woman +of never so low kin, if they love one another, but he sinneth in +Holy Church against God and his deed, and therefore he shall have +much pain and tribulations." Being assoiled of this crying sin, St. +John takes William to a fire "grete and styngkyng," in which he +sees people burning in their gay clothes. "I saw some with collars +of gold about their necks, and some of silver, and some men I saw +with gay girdles of silver and gold, and harnessed with horns about +their necks, some with mo jagges on their clothes than whole cloth, +others full of jingles and bells of silver all over set, and some +with long pokes on their sleeves, and women with gowns trailing +behind them a long space, and some with chaplets on their heads of +gold and pearls and other precious stones. And I looked on him that +I saw first in pain, and saw the collars and gay girdles and +baldrics burning, and the fiends dragging him by two fingermits. +And I saw the jagges that men were clothed in turn all to adders, +to dragons, and to toads, and 'many other orrible bestes,' sucking +them, and biting them, and stinging them with all their might, and +through every jingle I saw fiends smite burning nails of fire into +their flesh. I also saw fiends drawing down the skin of their +shoulders like to pokes, and cutting them off, and drawing them to +the heads of those they cut them from, all burning as fire. And +then I saw the women that had side trails behind them, and the side +trails cut off by the fiends and burned on their head; and some +took of the cutting all burning and stopped therewith their mouths, +their noses, and their ears. I saw also their gay chaplets of gold +and pearls and precious stones turned into nails of iron, burning, +and fiends with burning hammers smiting them into their heads." +These were proud and vain people. Then he saw another fire, where +the fiends were putting out people's eyes and pouring molten brass +and lead into the sockets, and tearing off their arms and the nails +of their feet and hands, and soldering them on again. This was the +doom of swearers. William saw other fires wherein the devils were +executing tortures varied and horrible on their unfortunate +victims. We need follow him no further.</p> +<p>At the end of the fifteenth century the Purgatory in Lough Derg +was destroyed by orders of the Pope, on hearing the report of a +monk of Eymstadt in Holland, who had visited it, and had satisfied +himself that there was nothing in it more remarkable than in any +ordinary cavern. The Purgatory was closed on St. Patrick's Day, +1497; but the belief in it was not so speedily banished from +popular superstition. Calderon made it the subject of one of his +dramas; and it became the subject of numerous popular chap-books in +France and Spain, where during last century it occupied in the +religious belief of the people precisely the same position which is +assumed by the marvelous visions of heaven and hell sold by hawkers +in England at the present day.</p> +<br> +<a name="BARING_02"></a> +<center><b>THE CORNISH WRECKERS</b></center> +<br> +<center>From 'The Vicar of Morwenstow'</center> +<br> +<p>When the Rev. R.S. Hawker came to Morwenstow in 1834, he found +that he had much to contend with, not only in the external +condition of church and vicarage, but also in that which is of +greater importance....</p> +<p>"The farmers of the parish were simple-hearted and respectable; +but the denizens of the hamlet, after receiving the wages of the +harvest time, eked out a precarious existence in the winter, and +watched eagerly and expectantly for the shipwrecks that were +certain to happen, and upon the plunder of which they surely +calculated for the scant provision of their families. The wrecked +goods supplied them with the necessaries of life, and the rended +planks of the dismembered vessel contributed to the warmth of the +hovel hearthstone.</p> +<p>"When Mr. Hawker came to Morwenstow, 'the cruel and covetous +natives of the strand, the wreckers of the seas and rocks for +flotsam and jetsam,' held as an axiom and an injunction to be +strictly obeyed:--</p> +<blockquote>"'Save a stranger from the sea,<br> +And he'll turn your enemy!'</blockquote> +<p>"The Morwenstow wreckers allowed a fainting brother to perish in +the sea before their eyes without extending a hand of safety,--nay, +more, for the egotistical canons of a shipwreck, superstitiously +obeyed, permitted and absolved the crime of murder by 'shoving the +drowning man into the sea,' to be swallowed by the waves. Cain! +Cain! where is thy brother? And the wrecker of Morwenstow answered +and pleaded in excuse, as in the case of undiluted brandy after +meals, 'It is Cornish custom.' The illicit spirit of Cornish custom +was supplied by the smuggler, and the gold of the wreck paid him +for the cursed abomination of drink."</p> +<p>One of Mr. Hawker's parishioners, Peter Barrow, had been for +full forty years a wrecker, but of a much more harmless +description: he had been a watcher of the coast for such objects as +the waves might turn up to reward his patience. Another was Tristam +Pentire, a hero of contraband adventure, and agent for sale of +smuggled cargoes in bygone times. With a merry twinkle of the eye, +and in a sharp and ringing tone, he loved to tell such tales of +wild adventure and of "derring do," as would make the foot of the +exciseman falter and his cheek turn pale.</p> +<p>During the latter years of last century there lived in +Wellcombe, one of Mr. Hawker's parishes, a man whose name is still +remembered with terror--Cruel Coppinger. There are people still +alive who remember his wife.</p> +<p>Local recollections of the man have molded themselves into the +rhyme--</p> +<blockquote>Will you hear of Cruel Coppinger?<br> + He came from a foreign land:<br> +He was brought to us by the salt water,<br> + He was carried away by the wind!"</blockquote> +<p>His arrival on the north coast of Cornwall was signalized by a +terrific hurricane. The storm came up Channel from the south-west. +A strange vessel of foreign rig went on the reefs of Harty Race, +and was broken to pieces by the waves. The only man who came ashore +was the skipper. A crowd was gathered on the sand, on horseback and +on foot, women as well as men, drawn together by the tidings of a +probable wreck. Into their midst rushed the dripping stranger, and +bounded suddenly upon the crupper of a young damsel who had ridden +to the beach to see the sight. He grasped her bridle, and shouting +in some foreign tongue, urged the double-laden animal into full +speed, and the horse naturally took his homeward way. The damsel +was Miss Dinah Hamlyn. The stranger descended at her father's door, +and lifted her off her saddle. He then announced himself as a Dane, +named Coppinger. He took his place at the family board, and there +remained until he had secured the affections and hand of Dinah. The +father died, and Coppinger at once succeeded to the management and +control of the house, which thenceforth became a den and refuge of +every lawless character along the coast. All kinds of wild uproar +and reckless revelry appalled the neighborhood day and night. It +was discovered that an organized band of smugglers, wreckers, and +poachers made this house their rendezvous, and that "Cruel +Coppinger" was their captain. In those days, and in that far-away +region, the peaceable inhabitants were unprotected. There was not a +single resident gentleman of property and weight in the entire +district. No revenue officer durst exercise vigilance west of the +Tamar; and to put an end to all such surveillance at once, the head +of a gauger was chopped off by one of Coppinger's gang on the +gunwale of a boat.</p> +<p>Strange vessels began to appear at regular intervals on the +coast, and signals were flashed from the headlands to lead them +into the safest creek or cove. Amongst these vessels, one, a +full-rigged schooner, soon became ominously conspicuous. She was +for long the chief terror of the Cornish Channel. Her name was The +Black Prince. Once, with Coppinger on board, she led a +revenue-cutter into an intricate channel near the Bull Rock, where, +from knowledge of the bearings, The Black Prince escaped scathless, +while the king's vessel perished with all on board. In those times, +if any landsman became obnoxious to Coppinger's men, he was seized +and carried on board The Black Prince, and obliged to save his life +by enrolling himself in the crew. In 1835, an old man of the age of +ninety-seven related to Mr. Hawker that he had been so abducted, +and after two years' service had been ransomed by his friends with +a large sum. "And all," said the old man very simply, "because I +happened to see one man kill another, and they thought I would +mention it."</p> +<p>Amid such practices, ill-gotten gold began to flow and ebb in +the hands of Coppinger. At one time he had enough money to purchase +a freehold farm bordering on the sea. When the day of transfer +came, he and one of his followers appeared before the lawyer and +paid the money in dollars, ducats, doubloons, and pistoles. The man +of law demurred, but Coppinger with an oath bade him take this or +none. The document bearing Coppinger's name is still extant. His +signature is traced in stern bold characters, and under his +autograph is the word "Thuro" (thorough) also in his own +handwriting.</p> +<p>Long impunity increased Coppinger's daring. There were certain +bridle roads along the fields over which he exercised exclusive +control. He issued orders that no man was to pass over them by +night, and accordingly from that hour none ever did. They were +called "Coppinger's Tracks." They all converged at a headland which +had the name of Steeple Brink. Here the cliff sheered off, and +stood three hundred feet of perpendicular height, a precipice of +smooth rock towards the beach, with an overhanging face one hundred +feet down from the brow. Under this was a cave, only reached by a +cable ladder lowered from above, and made fast below on a +projecting crag. It received the name of "Coppinger's Cave." Here +sheep were tethered to the rock, and fed on stolen hay and corn +till slaughtered; kegs of brandy and hollands were piled around; +chests of tea; and iron-bound sea-chests contained the chattels and +revenues of the Coppinger royalty of the sea....</p> +<p>But the end arrived. Money became scarce, and more than one +armed king's cutter was seen day and night hovering off the land. +So he "who came with the water went with the wind." His +disappearance, like his arrival, was commemorated by a storm.</p> +<p>A wrecker who had gone to watch the shore, saw, as the sun went +down, a full-rigged vessel standing off and on. Coppinger came to +the beach, put off in a boat to the vessel, and jumped on board. +She spread canvas, stood off shore, and with Coppinger in her was +seen no more. That night was one of storm. Whether the vessel rode +it out, or was lost, none knew.</p> +<hr style="width: 25%;"> +<p>In 1864 a large ship was seen in distress off the coast. The +Rev. A. Thynne, rector of Kilkhampton, at once drove to Morwenstow. +The vessel was riding at anchor a mile off shore, west of Hartland +Race. He found Mr. Hawker in the greatest excitement, pacing his +room and shouting for some things he wanted to put in his +greatcoat-pockets, and intensely impatient because his carriage was +not round. With him was the Rev. W. Valentine, rector of Whixley in +Yorkshire, then resident at Chapel in the parish of Morwenstow.</p> +<p>"What are you going to do?" asked the rector of Kilkhampton: "I +shall drive at once to Bude for the lifeboat."</p> +<p>"No good!" thundered the vicar, "no good comes out of the west. +You must go east. I shall go to Clovelly, and then, if that fails, +to Appledore. I shall not stop till I have got a lifeboat to take +those poor fellows off the wreck."</p> +<p>"Then," said the rector of Kilkhampton, "I shall go to Bude, and +see to the lifeboat there being brought out."</p> +<p>"Do as you like; but mark my words, no good comes of turning to +the west. Why," said he, "in the primitive church they turned to +the west to renounce the Devil."</p> +<p>His carriage came to the door, and he drove off with Mr. +Valentine as fast as his horses could spin him along the hilly, +wretched roads.</p> +<p>Before he reached Clovelly, a boat had put off with the mate +from the ship, which was the Margaret Quail, laden with salt. The +captain would not leave the vessel; for, till deserted by him, no +salvage could be claimed. The mate was picked up on the way, and +the three reached Clovelly.</p> +<p>Down the street proceeded the following procession--the street +of Clovelly being a flight of stairs:--</p> +<p><i>First</i>, the vicar of Morwenstow in a claret-colored coat, +with long tails flying in the gale, blue knitted jersey, and +pilot-boots, his long silver locks fluttering about his head. He +was appealing to the fishermen and sailors of Clovelly to put out +in their lifeboat to rescue the crew of the Margaret Quail. The men +stood sulky, lounging about with folded arms, or hands in their +pockets, and sou'-westers slouched over their brows. The women were +screaming at the tops of their voices that they would not have +their husbands and sons and sweethearts enticed away to risk their +lives to save wrecked men. Above the clamor of their shrill tongues +and the sough of the wind rose the roar of the vicar's voice: he +was convulsed with indignation, and poured forth the most sacred +appeals to their compassion for drowning sailors.</p> +<p><i>Second</i> in the procession moved the Rev. W. Valentine, +with purse full of gold in his hand, offering any amount of money +to the Clovelly men, if they would only go forth in the lifeboat to +the wreck.</p> +<p><i>Third</i> came the mate of the Margaret Quail, restrained by +no consideration of cloth, swearing and damning right and left, in +a towering rage at the cowardice of the Clovelly men.</p> +<p><i>Fourth</i> came John, the servant of Mr. Hawker, with bottles +of whisky under his arm, another inducement to the men to relent +and be merciful to their imperiled brethren.</p> +<p>The first appeal was to their love of heaven and to their +humanity; the second was to their pockets, their love of gold; the +third to their terrors, their fear of Satan, to whom they were +consigned; and the fourth to their stomachs, their love of +grog.</p> +<p>But all appeals were in vain. Then Mr. Hawker returned to his +carriage, and drove away farther east to Appledore, where he +secured the lifeboat. It was mounted on a wagon; ten horses were +harnessed to it; and as fast as possible it was conveyed to the +scene of distress.</p> +<p>But in the mean while the captain of the Margaret Quail, +despairing of help and thinking that his vessel would break up +under him, came off in his boat with the rest of the crew, trusting +rather to a rotten boat, patched with canvas which they had tarred +over, than to the tender mercies of the covetous Clovellites, in +whose veins ran the too recent blood of wreckers. The only living +being left on board was a poor dog.</p> +<p>No sooner was the captain seen to leave the ship than the +Clovelly men lost their repugnance to go to sea. They manned boats +at once, gained the Margaret Quail, and claimed three thousand +pounds for salvage.</p> +<p>There was an action in court, as the owners refused to pay such +a sum; and it was lost by the Clovelly men, who however got an +award of twelve hundred pounds. The case turned somewhat on the +presence of the dog on the wreck; and it was argued that the vessel +was not deserted, because a dog had been left on board to keep +guard for its masters. The owner of the cargo failed; and the +amount actually paid to the salvors was six hundred pounds to two +steam-tugs (three hundred pounds each), and three hundred pounds to +the Clovelly skiff and sixteen men.</p> +<p>Mr. Hawker went round the country indignantly denouncing the +sailors of Clovelly, and with justice. It roused all the righteous +wrath in his breast. And as may well be believed, no love was borne +him by the inhabitants of that little fishing village. They would +probably have made a wreck of him had he ventured among them.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BARLOW1"></a> +<h2>Jane Barlow</h2> +<h3>(18-)</h3> +<br> +<p class="par"><img src="images/letter-t.png" width="30%" alt= +""></p> +<p>he general reader has yet to learn the most private and sacred +events of Miss Jane Barlow's life, now known only to herself and +friends. She is the daughter of Dr. Barlow of Trinity College, and +lives in the seclusion of a collage at Raheny, a hamlet near +Dublin. Her family has been in Ireland for generations, and she +comes of German and Norman stock. As some one has said, the +knowledge and skill displayed in depicting Irish peasant life, +which her books show, are hers not through Celtic blood and +affinities, but by a sympathetic genius and inspiration.</p> +<p class="rgt"><img src="images/image-109.png" width="45%" alt= +""><br> +<b>Jane Barlow.</b></p> +<p>The publication of her writings in book form was preceded by the +appearance of some poems and stories in the magazines, the Dublin +University Review of 1885 containing 'Walled Out; or, Eschatology +in a Bog.' 'Irish Idyls' (1892), and 'Bogland Studies' (of the same +year), show the same pitiful, sombre pictures of Irish peasant life +about the sodden-roofed mud hut and "pitaties" boiling, which only +a genial, impulsive, generous, light-hearted, half-Greek and +half-philosophic people could make endurable to the reader or +attractive to the writer. The innate sweetness of the Irish +character, which the author brings out with fine touches, makes it +worth portrayal. "It is safe to say," writes a critic, "that the +philanthropist or the political student interested in the eternal +Irish problem will learn more from Miss Barlow's twin volumes than +from a dozen Royal Commissions and a hundred Blue Books." Her +sympathy constantly crops out, as, for instance, in the mirthful +tale of 'Jerry Dunne's Basket,' where--</p> +<blockquote>"Andy Joyce had an ill-advised predilection for seeing +things which he called 'dacint and proper' about him, and he built +some highly superior sheds on the lawn, to the bettering, no doubt, +of his cattle's condition. The abrupt raising of his rent by fifty +per cent, was a broad hint which most men would have taken; and it +did keep Andy ruefully quiet for a season or two. Then, however, +having again saved up a trifle, he could not resist the temptation +to drain the swampy corner of the farthest river-field, which was +as kind a bit of land as you could wish, only for the water lying +on it, and in which he afterward raised himself a remarkably fine +crop of white oats. The sight of them 'done his heart good,' he +said, exultantly, nothing recking that it was the last touch of +farmer's pride he would ever feel. Yet on the next quarter-day the +Joyces received notice to quit, and their landlord determined to +keep the vacated holding in his own hands; those new sheds were +just the thing for his young stock. Andy, in fact, had done his +best to improve himself off the face of the earth."</blockquote> +<p>The long story which Miss Barlow has published, 'Kerrigan's +Quality' (1894), is told with her distinguishing charm, but the +book has not the close-knit force of the 'Idyls.' Miss Barlow +herself prefers the 'Bogland Studies,' because, she says, they are +"a sort of poetry." "I had set my heart too long upon being a poet +ever to give up the idea quite contentedly; 'the old hope is +hardest to be lost.' A real poet I can never be, as I have, I fear, +nothing of the lyrical faculty; and a poet without that is worse +than a bird without wings, so, like Mrs. Browning's Nazianzen, I am +doomed to look 'at the lyre hung out of reach.'"</p> +<p>Besides the three books named, Miss Barlow has published 'Mockus +of the Shallow Waters' (1893); 'The End of Elfintown' (1894); 'The +Battle of the Frogs and Mice in English' (1894); 'Maureen's Fairing +and other Stories' (1895); and 'Strangers at Lisconnel,' a second +series of 'Irish Idyls' (1895). In the last book we again have the +sorrows and joys of the small hamlet in the west of Ireland, where +"the broad level spreads away and away to the horizon before and +behind and on either side of you, very sombre-hued, yet less +black-a-vised than more frequent bergs," where in the distance the +mountains "loom up on its borders much less substantial, +apparently, in fabric than so many spirals of blue turf smoke," and +where the curlew's cry "can set a whole landscape to melancholy in +one chromatic phrase."</p> +<br> +<a name="BARLOW1_01"></a> +<center><b>THE WIDOW JOYCE'S CLOAK</b></center> +<br> +<center>From 'Strangers at Lisconnel'</center> +<br> +<p>Still, although the Tinkers' name has become a byword among us +through a long series of petty offenses rather than any one +flagrant crime, there is a notable misdeed on record against them, +which has never been forgotten in the lapse of many years. It was +perpetrated soon after the death of Mrs. Kilfoyle's mother, the +Widow Joyce, an event which is but dimly recollected now at +Lisconnel, as nearly half a century has gone by. She did not very +long survive her husband, and he had left his roots behind in his +little place at Clonmena, where, as we know, he had farmed not +wisely but too well, and had been put out of it for his pains to +expend his energy upon our oozy black sods and stark-white +bowlders. But instead he moped about, fretting for his fair green +fields, and few proudly cherished beasts,--especially the little +old Kerry cow. And at his funeral the neighbors said, "Ah, bedad, +poor man, God help him, he niver held up his head agin from that +good day to this."</p> +<p>When Mrs. Joyce felt that it behooved her to settle her affairs, +she found that the most important possession she had to dispose of +was her large cloak. She had acquired it at the prosperous time of +her marriage, and it was a very superior specimen of its kind, in +dark-blue cloth being superfine, and its ample capes and capacious +hood being double-lined and quilted and stitched in a way which I +cannot pretend to describe, but which made it a most substantial +and handsome garment. If Mrs. Joyce had been left entirely to her +own choice in the matter, I think she would have bequeathed it to +her younger daughter Theresa, notwithstanding that custom clearly +designated Bessy Kilfoyle, the eldest of the family, as the +heiress. For she said to herself that poor Bessy had her husband +and childer to consowl her, any way, but little Theresa, the +crathur, had ne'er such a thing at all, and wouldn't have, not she, +God love her. "And the back of me hand to some I could name." It +seemed to her that to leave the child the cloak would be almost +like keeping a warm wing spread over her in the cold wide world; +and there was no fear that Bessy would take it amiss.</p> +<p>But Theresa herself protested strongly against such a +disposition, urging for one thing that sure she'd be lost in it +entirely if ever she put it on; a not unfounded objection, as +Theresa was several sizes smaller than Bessy, and even she fell far +short of her mother in stature and portliness. Theresa also said +confidently with a sinking heart, "But sure, anyhow, mother jewel, +what matter about it? 'Twill be all gone to houles and flitters and +thraneens, and so it will, plase goodness, afore there's any talk +of anybody else wearin' it except your own ould self." And she +expressed much the same conviction one day to her next-door +neighbor, old Biddy Ryan, to whom she had run in for the loan of a +sup of sour milk, which Mrs. Joyce fancied. To Biddy's sincere +regret she could offer Theresa barely a skimpy noggin of milk, and +only a meagre shred of encouragement; and by way of eking out the +latter with its sorry substitute, consolation, she said as she +tilted the jug perpendicularly to extract its last drop:--</p> +<p>"Well, sure, me dear, I do be sayin' me prayers for her every +sun goes over our heads that she might be left wid you this great +while yet; 'deed, I do so. But ah, acushla, if we could be keepin' +people that-a-way, would there be e'er a funeral iver goin' black +on the road at all at all? I'm thinkin' there's scarce a one +livin', and he as ould and foolish and little-good-for as you +plase, but some crathur'ill be grudgin' him to his grave, that's +himself may be all the while wishin' he was in it. Or, morebetoken, +how can we tell what quare ugly misfortin' thim that's took is took +out of the road of, that we should be as good as biddin' thim stay +till it comes to ruinate them? So it's prayin' away I am, honey," +said old Biddy, whom Theresa could not help hating heart-sickly. +"But like enough the Lord might know better than to be mindin' a +word I say."</p> +<p>And it seemed that He did; anyway, the day soon came when the +heavy blue cloak passed into Mrs. Kilfoyle's possession.</p> +<p>At that time it was clear, still autumn weather, with just a +sprinkle of frost white on the wayside grass, like the wraith of +belated moonlight, when the sun rose, and shimmering into rainbow +stars by noon. But about a month later the winter swooped suddenly +on Lisconnel: with wild winds and cold rain that made +crystal-silver streaks down the purple of the great mountainheads +peering in over our bogland.</p> +<p>So one perishing Saturday Mrs. Kilfoyle made up her mind that +she would wear her warm legacy on the bleak walk to Mass next +morning, and reaching it down from where it was stored away among +the rafters wrapped in an old sack, she shook it respectfully out +of its straight-creased folds. As she did so she noticed that the +binding of the hood had ripped in one place, and that the lining +was fraying out, a mishap which should be promptly remedied before +it spread any further. She was not a very expert needlewoman, and +she thought she had better run over the way to consult Mrs. +O'Driscoll, then a young matron, esteemed the handiest and most +helpful person in Lisconnel.</p> +<p>"It's the nathur of her to be settin' things straight wherever +she goes," Mrs. Kilfoyle said to herself as she stood in her +doorway waiting for the rain to clear off, and looking across the +road to the sodden roof which sheltered her neighbor's head. It had +long been lying low, vanquished by a trouble which even she could +not set to rights, and some of the older people say that things +have gone a little crookeder in Lisconnel ever since.</p> +<p>The shower was a vicious one, with the sting of sleet and hail +in its drops, pelted about by gusts that ruffled up the puddles +into ripples, all set on end, like the feathers of a frightened +hen. The hens themselves stood disconsolately sheltering under the +bank, mostly on one leg, as if they preferred to keep up the +slightest possible connection with such a very damp and +disagreeable earth. You could not see far in any direction for the +fluttering sheets of mist, and a stranger who had been coming along +the road from Duffelane stepped out of them abruptly quite close to +Mrs. Kilfoyle's door, before she knew that there was anybody near. +He was a tall, elderly man, gaunt and grizzled, very ragged, and so +miserable-looking that Mrs. Kilfoyle could have felt nothing but +compassion for him had he not carried over his shoulder a bunch of +shiny cans, which was to her mind as satisfactory a passport as a +ticket of leave. For although these were yet rather early days at +Lisconnel, the Tinkers had already begun to establish their +reputation. So when he stopped in front of her and said, "Good-day, +ma'am," she only replied distantly, "It's a hardy mornin'," and +hoped he would move on. But he said, "It's cruel could, ma'am," and +continued to stand looking at her with wide and woful eyes, in +which she conjectured--erroneously, as it happened--hunger for +warmth or food. Under these circumstances, what could be done by a +woman who was conscious of owning a redly glowing hearth with a big +black pot, fairly well filled, clucking and bobbing upon it? To +possess such wealth as this, and think seriously of withholding a +share from anybody who urges the incontestable claim of wanting it, +is a mood altogether foreign to Lisconnel, where the +responsibilities of poverty are no doubt very imperfectly +understood. Accordingly Mrs. Kilfoyle said to the tattered tramp, +"Ah, thin, step inside and have a couple of hot pitaties." And when +he accepted the invitation without much alacrity, as if he had +something else on his mind, she picked for him out of the steam two +of the biggest potatoes, whose earth-colored skins, cracking, +showed a fair flouriness within; and she shook a little heap of +salt, the only relish she had, onto the chipped white plate as she +handed it to him, saying, "Sit you down be the fire, there, and git +a taste of the heat."</p> +<p>Then she lifted her old shawl over her head, and ran out to see +where at all Brian and Thady were gettin' their deaths on her under +the pours of rain; and as she passed the Keoghs' adjacent +door--which was afterward the Sheridans', whence their Larry +departed so reluctantly--young Mrs. Keogh called her to come in and +look at "the child," who, being a new and unique possession, was +liable to develop alarmingly strange symptoms, and had now "woke up +wid his head that hot, you might as well put your hand on the hob +of the grate." Mrs. Kilfoyle stayed only long enough to suggest, as +a possible remedy, a drop of two-milk whey. "But ah, sure, woman +dear, where at all 'ud we come by that, wid the crathur of a goat +scarce wettin' the bottom of the pan?" and to draw reassuring omens +from the avidity with which the invalid grabbed at a sugared crust. +In fact, she was less than five minutes out of her house; but when +she returned to it, she found it empty. First, she noted with a +moderate thrill of surprise that her visitor had gone away leaving +his potatoes untouched; and next, with a rough shock of dismay, +that her cloak no longer lay on the window seat where she had left +it. From that moment she never felt any real doubts about what had +befallen her, though for some time she kept on trying to conjure +them up, and searched wildly round and round and round her little +room, like a distracted bee strayed into the hollow furze-bush, +before she sped over to Mrs. O'Driscoll with the news of her +loss.</p> +<p>It spread rapidly through Lisconnel, and brought the neighbors +together exclaiming and condoling, though not in great force, as +there was a fair going on down beyant, which nearly all the men and +some of the women had attended. This was accounted cruel unlucky, +as it left the place without any one able-bodied and active enough +to go in pursuit of the thief. A prompt start might have overtaken +him, especially as he was said to be a "thrifle lame-futted"; +though Mrs. M'Gurk, who had seen him come down the hill, opined +that "'twasn't the sort of lameness 'ud hinder the miscreant of +steppin' out, on'y a quare manner of flourish he had in a one of +his knees, as if he was gatherin' himself up to make an offer at a +grasshopper's lep, and then thinkin' better of it."</p> +<p>Little Thady Kilfoyle reported that he had met the strange man a +bit down the road, "leggin' it along at a great rate, wid a black +rowl of somethin' under his arm that he looked to be crumplin' up +as small as he could,"--the word "crumpling" went acutely to Mrs. +Kilfoyle's heart,--and some long-sighted people declared that they +could still catch glimpses of a receding figure through the +hovering fog on the way toward Sallinbeg.</p> +<p>"I'd think he'd be beyant seein' afore now," said Mrs. Kilfoyle, +who stood in the rain, the disconsolate centre of the group about +her door; all women and children except old Johnny Keogh, who was +so bothered and deaf that he grasped new situations slowly and +feebly, and had now an impression of somebody's house being on +fire. "He must ha' took off wid himself the instiant me back was +turned, for ne'er a crumb had he touched of the pitaties."</p> +<p>"Maybe he'd that much shame in him," said Mrs. O'Driscoll.</p> +<p>"They'd a right to ha' choked him, troth and they had," said Ody +Rafferty's aunt.</p> +<p>"Is it chokin'?" said young Mrs. M'Gurk, bitterly. "Sure the +bigger thief a body is, the more he'll thrive on whatever he gits; +you might think villiny was as good as butter to people's pitaties, +you might so. Sharne how are you? Liker he'd ate all he could +swally in the last place he got the chance of layin' his hands on +anythin'."</p> +<p>"Och, woman alive, but it's the fool you were to let him out of +your sight," said Ody Rafferty's aunt. "If it had been me, I'd +niver ha' took me eyes off him, for the look of him on'y goin' by +made me flesh creep upon me bones."</p> +<p>"'Deed was I," said Mrs. Kilfoyle, sorrowfully, "a fine fool. +And vexed she'd be, rael vexed, if she guessed the way it was gone +on us, for the dear knows what dirty ould rapscallions 'ill get the +wearin' of it now. Rael vexed she'd be."</p> +<p>This speculation was more saddening than the actual loss of the +cloak, though that bereft her wardrobe of far and away its most +valuable property, which should have descended as an heirloom to +her little Katty, who, however, being at present but three months +old, lay sleeping happily unaware of the cloud that had come over +her prospects.</p> +<p>"I wish to goodness a couple of the lads 'ud step home wid +themselves this minit of time," said Mrs. M'Gurk. "They'd come tip +wid him yet, and take it off of him ready enough. And smash his +ugly head for him, if he would be givin' them any impidence."</p> +<p>"Aye, and 'twould be a real charity--the mane baste;--or sling +him in one of the bog-houles," said the elder Mrs. Keogh, a +mild-looking little old woman. "I'd liefer than nine nine-pennies +see thim comin' along. But I'm afeard it's early for thim yet."</p> +<p>Everybody's eyes turned, as she spoke, toward the ridge of the +Knockawn, though with no particular expectation of seeing what they +wished upon it. But behold, just at that moment three figures, +blurred among the gray rain-mists, looming into view.</p> +<p>"Be the powers," said Mrs. M'Gurk, jubilantly, "it's Ody +Rafferty himself. To your sowls! Now you've a great good chance, +ma'am, to be gettin' it back. He's the boy 'ill leg it over all +before him"--for in those days Ody was lithe and limber--"and it's +hard-set the thievin' Turk 'ill be to get the better of him at a +racin' match--Hi--Och." She had begun to hail him with a call eager +and shrill, which broke off in a strangled croak, like a young +cock's unsuccessful effort. "Och, murdher, murdher, murdher," she +said to the bystanders, in a disgusted undertone. "I'll give you me +misfort'nit word thim other two is the pólis."</p> +<p>Now it might seem on the face of things that the arrival of +those two active and stalwart civil servants would have been +welcomed as happening just in the nick of time; yet it argues an +alien ignorance to suppose such a view of the matter by any means +possible. The men in invisible green tunics belonged completely to +the category of pitaty-blights, rint-warnin's, fevers, and the like +devastators of life, that dog a man more or less all through it, +but close in on him, a pitiful quarry, when the bad seasons come +and the childer and the old crathurs are starvin' wid the hunger, +and his own heart is broke; therefore, to accept assistance from +them in their official capacity would have been a proceeding most +reprehensibly unnatural. To put a private quarrel or injury into +the hands of the peelers were a disloyal making of terms with the +public foe; a condoning of great permanent wrongs for the sake of a +trivial temporary convenience. Lisconnel has never been skilled in +the profitable and ignoble art of utilizing its enemies. Not that +anybody was more than vaguely conscious of these sentiments, much +less attempted to express them in set terms. When a policeman +appeared there in an inquiring mood, what people said among +themselves was, "Musha cock him up. I hope he'll get his health +till I would be tellin' him," or words to that effect; while in +reply to his questions, they made statements superficially so clear +and simple, and essentially so bewilderingly involved, that the +longest experience could do little more for a constable than teach +him the futility of wasting his time in attempts to disentangle +them.</p> +<p>Thus it was that when Mrs. Kilfoyle saw who Ody's companions +were, she bade a regretful adieu to her hopes of recovering her +stolen property. For how could she set him on the Tinker's +felonious track without apprising them likewise? You might as well +try to huroosh one chicken off a rafter and not scare the couple +that were huddled beside it. The impossibility became more obvious +presently as the constables, striding quickly down to where the +group of women stood in the rain and wind with fluttering shawls +and flapping cap-borders, said briskly, "Good-day to you all. Did +any of yous happen to see e'er a one of them tinkerin' people goin' +by here this mornin'?"</p> +<p>It was a moment of strong temptation to everybody, but +especially to Mrs. Kilfoyle, who had in her mind that vivid picture +of her precious cloak receding from her along the wet road, +recklessly wisped up in the grasp of as thankless a thievin' +black-hearted slieveen as ever stepped, and not yet, perhaps, +utterly out of reach, though every fleeting instant carried it +nearer to that hopeless point. However, she and her neighbors stood +the test unshaken. Mrs. Ryan rolled her eyes deliberatively, and +said to Mrs. M'Gurk, "The saints bless us, was it yisterday or the +day before, me dear, you said you seen a couple of them below, near +ould O'Beirne's?"</p> +<p>And Mrs. M'Gurk replied, "Ah, sure, not at all, ma'am, glory be +to goodness. I couldn't ha' tould you such a thing, for I wasn't +next or nigh the place. Would it ha' been Ody Rafferty's aunt? She +was below there fetchin' up a bag of male, and bedad she came home +that dhreeped, the crathur, you might ha' thought she'd been after +fishin' it up out of the botthom of one of thim bog-houles."</p> +<p>And Mrs. Kilfoyle heroically hustled her Thady into the house, +as she saw him on the brink of beginning loudly to relate his +encounter with a strange man, and desired him to whisht and stay +where he was in a manner so sternly repressive that he actually +remained there as if he had been a pebble dropped into a pool, and +not, as usual, a cork to bob up again immediately.</p> +<p>Then Mrs. M'Gurk made a bold stroke, designed to shake off the +hampering presence of the professionals, and enable Ody's amateur +services to be utilized while there was yet time.</p> +<p>"I declare," she said, "now that I think of it, I seen a feller +crossin' the ridge along there a while ago, like as if he was +comin' from Sallinbeg ways; and according to the apparence of him, +I wouldn't won'er if he <i>was</i> a one of thim tinker +crathures--carryin' a big clump of cans he was, at any rate--I +noticed the shine of thim. And he couldn't ha' got any great way +yet to spake of, supposin' there was anybody lookin' to folly after +him."</p> +<p>But Constable Black crushed her hopes as he replied, "Ah, it's +nobody comin' <i>from</i> Sallinbeg that we've anything to say to. +There's after bein' a robbery last night, down below at Jerry +Dunne's--a shawl as good as new took, that his wife's ragin' over +frantic, along wid a sight of fowl and other things. And the +Tinkers that was settled this long while in the boreen at the back +of his haggard is quit out of it afore daylight this mornin', every +rogue of them. So we'd have more than a notion where the property's +went to if we could tell the road they've took. We thought like +enough some of them might ha' come this way."</p> +<p>Now, Mr. Jerry Dunne was not a popular person in Lisconnel, +where he has even become, as we have seen, proverbial for what we +call "ould naygurliness." So there was a general tendency to say, +"The divil's cure to him," and listen complacently to any details +their visitors could impart. For in his private capacity a +policeman, provided that he be otherwise "a dacint lad," which to +do him justice is commonly the case, may join, with a few +unobtrusive restrictions, in our neighborly gossips; the rule in +fact being--Free admission except on business.</p> +<p>Only Mrs. Kilfoyle was so much cast down by her misfortune that +she could not raise herself to the level of an interest in the +affairs of her thrifty suitor, and the babble of voices relating +and commenting sounded as meaningless as the patter of the drops +which jumped like little fishes in the large puddle at their feet. +It had spread considerably before Constable Black said to his +comrade:--</p> +<blockquote>"Well, Daly, we'd better be steppin' home wid ourselves +as wise as we come, as the man said when he'd axed his road of the +ould black horse in the dark lane. There's no good goin' further, +for the whole gang of them's scattered over the counthry agin now +like a seedin' thistle in a high win'."<br> +<br> +"Aye, bedad," said Constable Daly, "and be the same token, this +win' ud skin a tanned elephant. It's on'y bogged and drenched we'd +git. Look at what's comin' up over there. That rain's snow on the +hills, every could drop of it; I seen Ben Bawn this mornin' as +white as the top of a musharoon, and it's thickenin' wid sleet here +this minute, and so it is."<br> +<br> +The landscape did, indeed, frown upon further explorations. In +quarters where the rain had abated it seemed as if the mists had +curdled on the breath of the bitter air, and they lay floating in +long white bars and reefs low on the track of their own shadow, +which threw down upon the sombre bogland deeper stains of gloom. +Here and there one caught on the crest of some gray-bowldered +knoll, and was teazed into fleecy threads that trailed melting +instead of tangling. But toward the north the horizon was all +blank, with one vast, smooth slant of slate-color, like a +pent-house roof, which had a sliding motion onwards.<br> +<br> +Ody Rafferty pointed to it and said, "Troth, it's teemin' powerful +this instiant up there in the mountains. 'Twill be much if you land +home afore it's atop of you; for 'twould be the most I could do +myself."</blockquote> +<p>And as the constables departed hastily, most people forgot the +stolen cloak for a while to wonder whether their friends would +escape being entirely drowned on the way back from the fair.</p> +<p>Mrs. Kilfoyle, however, still stood in deep dejection at her +door, and said, "Och, but she was the great fool to go let the +likes of him set fut widin' her house."</p> +<p>To console her Mrs. O'Driscoll said, "Ah, sure, sorra a fool +were you, woman dear; how would you know the villiny of him? And if +you'd turned the man away widout givin' him e'er a bit, it's bad +you'd be thinkin' of it all the day after."</p> +<p>And to improve the occasion for her juniors, old Mrs. Keogh +added, "Aye, and morebetoken you'd ha' been committin' a sin."</p> +<p>But Mrs. Kilfoyle replied with much candor, "'Deed, then, I'd a +dale liefer be after committin' a sin, or a dozen sins, than to +have me poor mother's good cloak thieved away on me, and walkin' +wild about the world."</p> +<p>As it happened, the fate of Mrs. Kilfoyle's cloak was very +different from her forecast. But I do not think that a knowledge of +it would have teen consolatory to her by any means. If she had +heard of it, she would probably have said, "The cross of Christ +upon us. God be good to the misfort'nit crathur." For she was not +at all of an implacable temper, and would, under the circumstances, +have condoned even the injury that obliged her to appear at Mass +with a flannel petticoat over her head until the end of her days. +Yet she did hold the Tinkers in a perhaps somewhat too unqualified +reprobation. For there are tinkers and tinkers. Some of them, +indeed, are stout and sturdy thieves,--veritable birds of +prey,--whose rapacity is continually questing for plunder. But some +of them have merely the magpies' and jackdaws' thievish propensity +for picking up what lies temptingly in their way. And some few are +so honest that they pass by as harmlessly as a wedge of high-flying +wild duck. And I have heard it said that to places like Lisconnel +their pickings and stealings have at worst never been so serious a +matter as those of another flock, finer of feather, but not less +predacious in their habits, who roosted, for the most part, a long +way off, and made their collections by deputy.</p> +<p>Copyrighted 1895, by Dodd, Mead and Company.</p> +<br> +<br> +<a name="BARLOW1_02"></a> +<blockquote> +<blockquote><b>WALLED OUT</b><br> +<br> +From 'Bogland Studies'</blockquote> +<br> +An' wanst we were restin' a bit in the sun on the smooth +hillside,<br> +Where the grass felt warm to your hand as the fleece of a sheep, +for wide,<br> +As ye'd look overhead an' around, 'twas all a-blaze and a-glow,<br> +An' the blue was blinkin' up from the blackest bog-holes below;<br> +<br> +An' the scent o' the bogmint was sthrong on the air, an' never a +sound<br> +But the plover's pipe that ye'll seldom miss by a lone bit o' +ground.<br> +An' he laned--Misther Pierce--on his elbow, an' stared at the sky +as he smoked,<br> +Till just in an idle way he sthretched out his hand an' +sthroked<br> +The feathers o' wan of the snipe that was kilt an' lay close by on +the grass;<br> +An' there was the death in the crathur's eyes like a breath upon +glass.<br> +<br> +An' sez he, "It's quare to think that a hole ye might bore wid a +pin<br> +'Ill be wide enough to let such a power o' darkness in<br> +On such a power o' light; an' it's quarer to think," sez he,<br> +"That wan o' these days the like is bound to happen to you an' +me."<br> +Thin Misther Barry, he sez: "Musha, how's wan to know but there's +light<br> +On t'other side o' the dark, as the day comes afther the +night?"<br> +An' "Och," says Misther Pierce, "what more's our knowin'--save the +mark--<br> +Than guessin' which way the chances run, an' thinks I they run to +the dark;<br> +Or else agin now some glint of a bame'd ha' come slithered an' +slid;<br> +Sure light's not aisy to hide, an' what for should it be hid?"<br> +Up he stood with a sort o' laugh: "If on light," sez he, "ye're +set,<br> +Let's make the most o' this same, as it's all that we're like to +get."<br> +<br> +Thim were his words, as I minded well, for often afore an' sin,<br> +The 'dintical thought 'ud bother me head that seemed to bother him +thin;<br> +An' many's the time I'd be wond'rin' whatever it all might +mane,<br> +The sky, an' the lan', an' the bastes, an' the rest o' thim plain +as plain,<br> +And all behind an' beyant thim a big black shadow let fall;<br> +Ye'll sthrain the sight out of your eyes, but there it stands like +a wall.<br> +<br> +"An' there," sez I to meself, "we're goin' wherever we go,<br> +But where we'll be whin we git there it's never a know I know."<br> +Thin whiles I thought I was maybe a sthookawn to throuble me +mind<br> +<br> +Wid sthrivin' to comprehind onnathural things o' the kind;<br> +An' Quality, now, that have larnin', might know the rights o' the +case,<br> +But ignorant wans like me had betther lave it in pace.<br> +<br> +Priest, tubbe sure, an' Parson, accordin' to what they say,<br> +The whole matther's plain as a pikestaff an' clear as the day,<br> +An' to hear thim talk of a world beyant, ye'd think at the +laste<br> +They'd been dead an' buried half their lives, an' had thramped it +from west to aist;<br> +An' who's for above an' who's for below they've as pat as if they +could tell<br> +The name of every saint in heaven an' every divil in hell.<br> +But cock up the lives of thimselves to be settlin' it all to their +taste--<br> +I sez, and the wife she sez I'm no more nor a haythin baste--<br> +<br> +For mighty few o' thim's rael Quality, musha, they're mostly a +pack<br> +O' playbians, each wid a tag to his name an' a long black coat to +his back;<br> +An' it's on'y romancin' they are belike; a man must stick be his +trade,<br> +An' <i>they</i> git their livin' by lettin' on they know how wan's +sowl is made.<br> +<br> +And in chapel or church they're bound to know somethin' for sure, +good or bad,<br> +Or where'd be the sinse o' their preachin' an' prayers an' hymns +an' howlin' like mad?<br> +So who'd go mindin' o' thim? barrin' women, in coorse, an' +wanes,<br> +That believe 'most aught ye tell thim, if they don't understand +what it manes--<br> +Bedad, if it worn't the nathur o' women to want the wit,<br> +Parson and Priest I'm a-thinkin' might shut up their shop an' +quit.<br> +<br> +But, och, it's lost an' disthracted the crathurs 'ud be without<br> +Their bit of divarsion on Sundays whin all o' thim gits about,<br> +Cluth'rin' an' pluth'rin' together like hins, an' a-roostin' in +rows,<br> +An' meetin' their frins an' their neighbors, and wearin' their +dacint clothes.<br> +An' sure it's quare that the clergy can't ever agree to keep<br> +Be tellin' the same thrue story, sin' they know such a won'erful +heap;<br> +<br> +For many a thing Priest tells ye that Parson sez is a lie,<br> +An' which has a right to be wrong, the divil a much know I,<br> +For all the differ I see 'twixt the pair o' thim 'd fit in a +nut:<br> +Wan for the Union, an' wan for the League, an' both o' thim bitther +as sut.<br> +But Misther Pierce, that's a gintleman born, an' has college +larnin' and all,<br> +There he was starin' no wiser than me where the shadow stands like +a wall.<br> +<br> +Authorized American Edition, Dodd, Mead and Company.</blockquote> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BARLOW2"></a> +<h2>JOEL BARLOW</h2> +<h3>(1754-1812)</h3> +<br> +<p class="par"><img src="images/letter-o.png" width="30%" alt= +""></p> +<p>ne morning late in the July of 1778, a select company gathered +in the little chapel of Yale College to listen to orations and +other exercises by a picked number of students of the Senior class, +one of whom, named Barlow, had been given the coveted honor of +delivering what was termed the 'Commencement Poem.' Those of the +audience who came from a distance carried back to their homes in +elm-shaded Norwich, or Stratford, or Litchfield, high on its hills, +lively recollections of a handsome young man and of his 'Prospect +of Peace,' whose cheerful prophecies in heroic verse so greatly +"improved the occasion." They had heard that he was a farmer's son +from Redding, Connecticut, who had been to school at Hanover, New +Hampshire, and had entered Dartmouth College, but soon removed to +Yale on account of its superior advantages; that he had twice seen +active service in the Continental army, and that he was engaged to +marry a beautiful New Haven girl.</p> +<p class="rgt"><img src="images/image-123.png" width="45%" alt= +""><br> +<b>Joel Barlow.</b></p> +<p>The brilliant career predicted for Barlow did not begin +immediately. Distaste for war, hope of securing a tutorship in +college, and--we may well believe--Miss Ruth's entreaties, kept him +in New Haven two years longer, engaged in teaching and in various +courses of study. 'The Prospect of Peace' had been issued in +pamphlet form, and the compliments paid the author incited him to +plan a poem of a philosophic character on the subject of America at +large, bearing the title 'The Vision of Columbus.' The appointment +as tutor never came, and instead of cultivating the Muse in +peaceful New Haven, he was forced to evoke her aid in a tent on the +banks of the Hudson, whither after a hurried course in theology, he +proceeded as an army chaplain in 1780. During his connection with +the army, which lasted until its disbandment in 1783, he won repute +by lyrics written to encourage the soldiers, and by "a flaming +political sermon," as he termed it, on the treason of Arnold.</p> +<p>Army life ended, Barlow removed to Hartford, where he studied +law, edited the American Mercury,--a weekly paper he had helped to +found,--- and with John Trumbull, Lemuel Hopkins, and David +Humphreys formed a literary club which became widely known as the +"Hartford Wits." Its chief publication, a series of political +lampoons styled 'The Anarchiad,' satirized those factions whose +disputes imperiled the young republic, and did much to influence +public opinion in Connecticut and elsewhere in favor of the Federal +Constitution. A revision and enlargement of Dr. Watts's 'Book of +Psalmody,' and the publication (1787) of his own 'Vision of +Columbus,' occupied part of Barlow's time while in Hartford. The +latter poem was extravagantly praised, ran through several +editions, and was republished in London and Paris; but the poet, +who now had a wife to support, could not live by his pen nor by the +law, and when in 1788 he was urged by the Scioto Land Company to +become its agent in Paris, he gladly accepted. The company was a +private association, formed to buy large tracts of government land +situated in Ohio and sell them in Europe to capitalists or actual +settlers. This failed disastrously, and Barlow was left stranded in +Paris, where he remained, supporting himself partly by writing, +partly by business ventures. Becoming intimate with the leaders of +the Girondist party, the man who had dedicated his 'Vision of +Columbus' to Louis XVI., and had also dined with the nobility, now +began to figure as a zealous Republican and as a Liberal in +religion. From 1790 to 1793 he passed most of his time in London, +where he wrote a number of political pamphlets for the Society for +Constitutional Information, an organization openly favoring French +Republicanism and a revision of the British Constitution. Here +also, in 1791, he finished a work entitled 'Advice to the +Privileged Orders,' which probably would have run through many +editions had it not been suppressed by the British government. The +book was an arraignment of tyranny in church and state, and was +quickly followed by 'The Conspiracy of Kings,' an attack in verse +on those European countries which had combined to kill +Republicanism in France. In 1792 Barlow was made a citizen of +France as a mark of appreciation of a 'Letter' addressed to the +National Convention, giving that body advice, and when the +convention sent commissioners to organize the province of Savoy +into a department, Barlow was one of the number. As a candidate for +deputy from Savoy, he was defeated; but his visit was not +fruitless, for at Chambéry the sight of a dish of maize-meal +porridge reminded him of his early home in Connecticut, and +inspired him to write in that ancient French town a typical Yankee +poem, 'Hasty Pudding.' Its preface, in prose, addressed to Mrs. +Washington, assured her that simplicity of diet was one of the +virtues; and if cherished by her, as it doubtless was, it would be +more highly regarded by her countrywomen.</p> +<p>Between the years of 1795-97, Barlow held the important but +unenviable position of United States Consul at Algiers, and +succeeded both in liberating many of his countrymen who were held +as prisoners, and in perfecting treaties with the rulers of the +Barbary States, which gave United States vessels entrance to their +ports and secured them from piratical attacks. On his return to +Paris he translated Volney's 'Ruins' into English, made +preparations for writing histories of the American and French +revolutions, and expanded his 'Vision of Columbus' into a volume +which as 'The Columbiad'--a beautiful specimen of typography--was +published in Philadelphia in 1807 and republished in London. The +poem was held to have increased Barlow's fame; but it is stilted +and monotonous, and 'Hasty Pudding' has done more to perpetuate his +name.</p> +<p>In 1805 Barlow returned to the United States and bought an +estate near Washington, D.C., where he entertained distinguished +visitors. In 1811 he returned to France authorized to negotiate a +treaty of commerce. After waiting nine months, he was invited by +Napoleon, who was then in Poland, to a conference at Wilna. On his +arrival Barlow found the French army on the retreat from Moscow, +and endured such privations on the march that on December 24th he +died of exhaustion at the village of Zarnowiec, near Cracow, and +there was buried.</p> +<p>Barlow's part in developing American literature was important, +and therefore he has a rightful place in a work which traces that +development. He certainly was a man of varied ability and power, +who advanced more than one good cause and stimulated the movement +toward higher thought. The only complete 'Life and Letters of Joel +Barlow,' by Charles Burr Todd, published in 1888, gives him +unstinted praise as excelling in statesmanship, letters, and +philosophy. With more assured justice, which all can echo, it +praises his nobility of spirit as a man. No one can read the letter +to his wife, written from Algiers when he thought himself in danger +of death, without a warm feeling for so unselfish and affectionate +a nature.</p> +<br> +<a name="BARLOW2_01"></a> +<center><b>A FEAST</b></center> +<br> +<center>From 'Hasty Pudding'</center> +<br> +<p>There are various ways of preparing and eating Hasty Pudding, +with molasses, butter, sugar, cream, and fried. Why so excellent a +thing cannot be eaten alone? Nothing is perfect alone; even man, +who boasts of so much perfection, is nothing without his +fellow-substance. In eating, beware of the lurking heat that lies +deep in the mass; dip your spoon gently, take shallow dips and cool +it by degrees. It is sometimes necessary to blow. This is indicated +by certain signs which every experienced feeder knows. They should +be taught to young beginners. I have known a child's tongue +blistered for want of this attention, and then the school-dame +would insist that the poor thing had told a lie. A mistake: the +falsehood was in the faithless pudding. A prudent mother will cool +it for her child with her own sweet breath. The husband, seeing +this, pretends his own wants blowing, too, from the same lips. A +sly deceit of love. She knows the cheat, but, feigning ignorance, +lends her pouting lips and gives a gentle blast, which warms the +husband's heart more than it cools his pudding.</p> +<blockquote>The days grow short; but though the falling sun<br> +To the glad swain proclaims his day's work done,<br> +Night's pleasing shades his various tasks prolong,<br> +And yield new subjects to my various song.<br> +For now, the corn-house filled, the harvest home,<br> +The invited neighbors to the husking come;<br> +A frolic scene, where work and mirth and play<br> +Unite their charms to chase the hours away.<br> + Where the huge heap lies centred in the hall,<br> +The lamp suspended from the cheerful wall,<br> +Brown corn-fed nymphs, and strong hard-handed beaux,<br> +Alternate ranged, extend in circling rows,<br> +Assume their seats, the solid mass attack;<br> +The dry husks rustle, and the corn-cobs crack;<br> +The song, the laugh, alternate notes resound,<br> +And the sweet cider trips in silence round.<br> + The laws of husking every wight can tell;<br> +And sure, no laws he ever keeps so well:<br> +For each red ear a general kiss he gains,<br> +With each smut ear he smuts the luckless swains;<br> +But when to some sweet maid a prize is cast,<br> +Red as her lips, and taper as her waist,<br> +She walks the round, and culls one favored beau,<br> +Who leaps, the luscious tribute to bestow.<br> +Various the sport, as are the wits and brains<br> +Of well-pleased lasses and contending swains;<br> +Till the vast mound of corn is swept away,<br> +And he that gets the last ear wins the day.<br> + Meanwhile the housewife urges all her care,<br> +The well-earned feast to hasten and prepare.<br> +The sifted meal already waits her hand,<br> +The milk is strained, the bowls in order stand,<br> +The fire flames high; and as a pool (that takes<br> +The headlong stream that o'er the mill-dam breaks)<br> +Foams, roars, and rages with incessant toils,<br> +So the vexed caldron rages, roars and boils.<br> + First with clean salt she seasons well the food,<br> +Then strews the flour, and thickens well the flood.<br> +Long o'er the simmering fire she lets it stand;<br> +To stir it well demands a stronger hand:<br> +The husband takes his turn, and round and round<br> +The ladle flies; at last the toil is crowned;<br> +When to the board the thronging huskers pour,<br> +And take their seats as at the corn before.<br> + I leave them to their feast. There still belong<br> +More useful matters to my faithful song.<br> +For rules there are, though ne'er unfolded yet,<br> +Nice rules and wise, how pudding should be ate.<br> + Some with molasses grace the luscious treat,<br> +And mix, like bards, the useful and the sweet;<br> +A wholesome dish, and well deserving praise,<br> +A great resource in those bleak wintry days,<br> +When the chilled earth lies buried deep in snow,<br> +And raging Boreas dries the shivering cow.<br> + Blest cow! thy praise shall still my notes employ,<br> +Great source of health, the only source of joy;<br> +Mother of Egypt's god, but sure, for me,<br> +Were I to leave my God, I'd worship thee.<br> +How oft thy teats these pious hands have pressed!<br> +How oft thy bounties prove my only feast!<br> +How oft I've fed thee with my favorite grain!<br> +And roared, like thee, to see thy children slain.<br> + Ye swains who know her various worth to prize,<br> +Ah! house her well from winter's angry skies.<br> +Potatoes, pumpkins, should her sadness cheer,<br> +Corn from your crib, and mashes from your beer;<br> +When spring returns, she'll well acquit the loan,<br> +And nurse at once your infants and her own.<br> + Milk, then, with pudding I should always choose;<br> +To this in future I confine my muse,<br> +Till she in haste some further hints unfold,<br> +Good for the young, nor useless to the old.<br> +First in your bowl the milk abundant take,<br> +Then drop with care along the silver lake<br> +Your flakes of pudding: these at first will hide<br> +Their little bulk beneath the swelling tide;<br> +But when their growing mass no more can sink,<br> +When the soft island looms above the brink,<br> +Then check your hand; you've got the portion due,<br> +So taught my sire, and what he taught is true.<br> + There is a choice in spoons. Though small appear<br> +The nice distinction, yet to me 'tis clear.<br> +The deep-bowled Gallic spoon, contrived to scoop<br> +In ample draughts the thin diluted soup,<br> +Performs not well in those substantial things,<br> +Whose mass adhesive to the metal clings;<br> +Where the strong labial muscles must embrace<br> +The gentle curve, and sweep the hollow space.<br> +With ease to enter and discharge the freight,<br> +A bowl less concave, but still more dilate,<br> +Becomes the pudding best. The shape, the size,<br> +A secret rests, unknown to vulgar eyes.<br> +Experienced feeders can alone impart<br> +A rule so much above the lore of art.<br> +These tuneful lips that thousand spoons have tried,<br> +With just precision could the point decide,<br> +Though not in song--the muse but poorly shines<br> +In cones, and cubes, and geometric lines;<br> +Yet the true form, as near as she can tell,<br> +Is that small section of a goose-egg shell,<br> +Which in two equal portions shall divide<br> +The distance from the centre to the side.<br> + Fear not to slaver; 'tis no deadly sin;--<br> +Like the free Frenchman, from your joyous chin<br> +Suspend the ready napkin; or like me,<br> +Poise with one hand your bowl upon your knee;<br> +Just in the zenith your wise head project,<br> +Your full spoon rising in a line direct,<br> +Bold as a bucket, heed no drops that fall.<br> +The wide-mouthed bowl will surely catch them all!</blockquote> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BARNES"></a> +<h2>WILLIAM BARNES</h2> +<h3>(1800-1886)</h3> +<br> +<p class="par"><img src="images/letter-h.png" width="30%" alt= +""></p> +<p>ad he chosen to write solely in familiar English, rather than in +the dialect of his native Dorsetshire, every modern anthology would +be graced by the verses of William Barnes, and to multitudes who +now know him not, his name would have become associated with many a +country sight and sound. Other poets have taken homely subjects for +their themes,--the hayfield, the chimney-nook, milking-time, the +blossoming of "high-boughed hedges"; but it is not every one who +has sung out of the fullness of his heart and with a naïve +delight in that of which he sung: and so by reason of their +faithfulness to every-day life and to nature, and by their +spontaneity and tenderness, his lyrics, fables, and eclogues appeal +to cultivated readers as well as to the rustics whose quaint speech +he made his own.</p> +<p>Short and simple are the annals of his life; for, a brief period +excepted, it was passed in his native county--though Dorset, for +all his purposes, was as wide as the world itself. His birthplace +was Bagbere in the vale of Blackmore, far up the valley of the +Stour, where his ancestors had been freeholders. The death of his +parents while he was a boy threw him on his own resources; and +while he was at school at Sturminster and Dorchester he supported +himself by clerical work in attorneys' offices. After he left +school his education was mainly self-gained; but it was so thorough +that in 1827 he became master of a school at Mere, Wilts, and in +1835 opened a boarding-school in Dorchester, which he conducted for +a number of years. A little later he spent a few terms at +Cambridge, and in 1847 received ordination. From that time until +his death in 1886, most of his days were spent in the little +parishes of Whitcombe and Winterbourne Came, near Dorchester, where +his duties as rector left him plenty of time to spend on his +favorite studies. To the last, Barnes wore the picturesque dress of +the eighteenth century, and to the tourist he became almost as much +a curiosity as the relics of Roman occupation described in a +guide-book he compiled.</p> +<p>When one is at the same time a linguist, a musician, an +antiquary, a profound student of philology, and skilled withal in +the graphic arts, it would seem inevitable that he should have more +than a local reputation; but when, in 1844, a thin volume entitled +'Poems of Rural Life in the Dorset Dialect' appeared in London, few +bookshop frequenters had ever heard of the author. But he was +already well known throughout Dorset, and there he was content to +be known; a welcome guest in castle and hall, but never happier +than when, gathering about him the Jobs and Lettys with whom Thomas +Hardy has made us familiar, he delighted their ears by reciting his +verses. The dialect of Dorset, he boasted, was the least corrupted +form of English; therefore to commend it as a vehicle of expression +and to help preserve his mother tongue from corruption, and to +purge it of words not of Anglo-Saxon or Teutonic origin,--this was +one of the dreams of his life,--he put his impressions of rural +scenery and his knowledge of human character into metrical form. He +is remembered by scholars here and there for a number of works on +philology, and one ('Outline of English Speech-Craft') in which, +with zeal, but with the battle against him, he aimed to teach the +English language by using words of Teutonic derivation only; but it +is through his four volumes of poems that he is better remembered. +These include 'Hwomely Rhymes' (1859), 'Poems of Rural Life' +(1862), and 'Poems of Rural Life in Common English' (1863). The +three collections of dialect poems were brought out in one volume, +with a glossary, in 1879.</p> +<p>"A poet fresh as the dew," "The first of English purely pastoral +poets," "The best writer of eclogues since Theocritus,"--these are +some of the tardy tributes paid him. With a sympathy for his +fellow-man and a humor akin to that of Burns, with a feeling for +nature as keen as Wordsworth's, though less subjective, and with a +power of depicting a scene with a few well-chosen epithets which +recalls Tennyson, Barnes has fairly earned his title to +remembrance.</p> +<p>'The Life of William Barnes, Poet and Philologist,' written by +his daughter, Mrs. Baxter, was published in 1887. There are +numerous articles relating to him in periodical literature, one of +which, a sketch by Thomas Hardy, in Vol. 86 of the 'Athenaeum,' is +of peculiar interest.</p> +<br> +<br> +<a name="BARNES_01"></a> +<blockquote><b>BLACKMWORE MAIDENS</b><br> +<br> +The primrwose in the sheäde do blow,<br> + The cowslip in the zun,<br> +The thyme upon the down do grow,<br> + The clote where streams do run;<br> +An' where do pretty maidens grow<br> + An' blow, but where the tow'r<br> +Do rise among the bricken tuns,<br> + In Blackmwore by the Stour?<br> +<br> +If you could zee their comely gait,<br> + An' pretty feäces' smiles,<br> +A-trippèn on so light o' waïght,<br> + An' steppèn off the stiles;<br> +A-gwaïn to church, as bells do swing<br> + An' ring 'ithin the tow'r,<br> +You'd own the pretty maïdens' pleäce<br> + Is Blackmwore by the Stour?<br> +<br> +If you vrom Wimborne took your road,<br> + To Stower or Paladore,<br> +An' all the farmers' housen show'd<br> + Their daughters at the door;<br> +You'd cry to bachelors at hwome--<br> + "Here, come: 'ithin an hour<br> +You'll vind ten maidens to your mind,<br> + In Blackmwore by the Stour."<br> +<br> +An' if you look'd 'ithin their door,<br> + To zee em in their pleäce,<br> +A-doèn housework up avore<br> + Their smilèn mother's feäce;<br> +You'd cry,--"Why, if a man would wive<br> + An' thrive, 'ithout a dow'r,<br> +Then let en look en out a wife<br> + In Blackmwore by the Stour."<br> +<br> +As I upon my road did pass<br> + A school-house back in May,<br> +There out upon the beäten grass<br> + Wer maïdens at their play;<br> +An' as the pretty souls did tweil<br> + An' smile, I cried, "The flow'r<br> +O' beauty, then, is still in bud<br> + In Blackmwore by the Stour."</blockquote> +<br> +<br> +<a name="BARNES_02"></a> +<blockquote><b>MAY</b><br> +<br> +Come out o' door, 'tis Spring! 'tis May!<br> +The trees be green, the yields be gay;<br> +The weather's warm, the winter blast,<br> +Wi' all his traïn o' clouds, is past;<br> +The zun do rise while vo'k do sleep,<br> +To teäke a higher daily zweep,<br> +Wi' cloudless feäce a-flingèn down<br> +His sparklèn light upon the groun'.<br> +The aïr's a-streamèn soft,--come drow<br> +The winder open; let it blow<br> +In drough the house, where vire, an' door<br> +A-shut, kept out the cwold avore.<br> +Come, let the vew dull embers die,<br> +An' come below the open sky;<br> +An' wear your best, vor fear the groun'<br> +In colors gäy mid sheäme your gown:<br> +An' goo an' rig wi' me a mile<br> +Or two up over geäte an' stile,<br> +Drough zunny parrocks that do lead,<br> +Wi' crooked hedges, to the meäd,<br> +Where elems high, in steätely ranks,<br> +Do rise vrom yollow cowslip-banks,<br> +An' birds do twitter vrom the spräy<br> +O' bushes deck'd wi' snow-white mäy;<br> +An' gil' cups, wi' the deäisy bed,<br> +Be under ev'ry step you tread.<br> +We'll wind up roun' the hill, an' look<br> +All down the thickly timber'd nook,<br> +Out where the squier's house do show<br> +His gray-walled peaks up drough the row<br> +O' sheädy elems, where the rock<br> +Do build her nest; an' where the brook<br> +Do creep along the meäds, an' lie<br> +To catch the brightness o' the sky;<br> +An' cows, in water to theïr knees,<br> +Do stan' a-whiskèn off the vlees.<br> +Mother o' blossoms, and ov all<br> +That's feäir a-vield vrom Spring till Fall,<br> +The gookoo over white-weäv'd seas<br> +Do come to zing in thy green trees,<br> +An' buttervlees, in giddy flight,<br> +Do gleäm the mwost by thy gäy light.</blockquote> +<br> +<a name="illus-1567.jpg"></a> +<p class="ctr"><a href="images/illus-1567.jpg"><img src= +"images/illus-1567.jpg" width="45%" alt=""></a><br> +<b>Milking Time.</b><br> +Photogravure from a Painting by A. Roll.</p> +<br> +<p>Oh! when, at last, my fleshly eyes Shall shut upon the vields +an' skies, Mid zummer's zunny days be gone, An' winter's clouds be +comèn on: Nor mid I draw upon the e'th, O' thy sweet +aïr my leätest breath; Alassen I mid want to stäy +Behine' for thee, O flow'ry May!</p> +<br> +<br> +<a name="BARNES_03"></a> +<blockquote><b>MILKEN TIME</b><br> +<br> +'Poems of Rural Life'<br> +<br> +'Twer when the busy birds did vlee,<br> +Wi' sheenèn wings, vrom tree to tree,<br> +To build upon the mossy lim'<br> +Their hollow nestes' rounded rim;<br> +The while the zun, a-zinkèn low,<br> +Did roll along his evenèn bow,<br> +I come along where wide-horn'd cows,<br> +'Ithin a nook, a-screen'd by boughs,<br> +Did stan' an' flip the white-hooped pails<br> +Wi' heäiry tufts o' swingèn taïls;<br> +An' there were Jenny Coom a-gone<br> +Along the path a vew steps on,<br> +A-beärèn on her head, upstraïght,<br> +Her païl, wi' slowly-ridèn waight,<br> +An hoops a-sheenèn, lily-white,<br> +Ageän the evenèn's slantèn light;<br> +An' zo I took her païl, an' left<br> +Her neck a-freed vrom all his heft;<br> +An' she a-lookèn up an' down,<br> +Wi' sheäply head an' glossy crown,<br> +Then took my zide, an' kept my peäce,<br> +A-talkèn on wi' smilèn feäce,<br> +An' zettèn things in sich a light,<br> +I'd faïn ha' heär'd her talk all night;<br> +An' when I brought her milk avore<br> +The geäte, she took it in to door,<br> +An' if her païl had but allow'd<br> +Her head to vall, she would ha' bow'd;<br> +An' still, as 'twer, I had the zight<br> +Ov' her sweet smile, droughout the night.</blockquote> +<br> +<br> +<a name="BARNES_04"></a> +<blockquote><b>JESSIE LEE</b><br> +<br> + Above the timber's bendèn sh'ouds,<br> + The western wind did softly blow;<br> + An' up avore the knap, the clouds<br> + Did ride as white as driven snow.<br> + Vrom west to east the clouds did zwim<br> + Wi' wind that plied the elem's lim';<br> +Vrom west to east the stream did glide,<br> + A sheenèn wide, wi' windèn brim.<br> +<br> + How feäir, I thought, avore the sky<br> + The slowly-zwimmèn clouds do +look;<br> + How soft the win's a-streamèn by;<br> + How bright do roll the weävy +brook:<br> + When there, a-passèn on my right,<br> + A-walkèn slow, an' treadèn light,<br> +Young Jessie Lee come by, an' there<br> + Took all my ceäre, an' all my zight.<br> +<br> + Vor lovely wer the looks her feäce<br> + Held up avore the western sky:<br> + An' comely wer the steps her peäce<br> + Did meäke a-walkèn slowly +by:<br> + But I went east, wi' beatèn breast,<br> + Wi' wind, an' cloud, an' brook, vor rest,<br> +Wi' rest a-lost, vor Jessie gone<br> + So lovely on, toward the west.<br> +<br> + Blow on, O winds, athirt the hill;<br> + Zwim on, O clouds; O waters vall,<br> + Down maeshy rocks, vrom mill to mill:<br> + I now can overlook ye all.<br> + But roll, O zun, an' bring to me<br> + My day, if such a day there be,<br> +When zome dear path to my abode<br> + Shall be the road o' Jessie Lee.</blockquote> +<br> +<br> +<a name="BARNES_05"></a> +<blockquote><b>THE TURNSTILE</b><br> +<br> +Ah! sad wer we as we did peäce<br> +The wold church road, wi' downcast feäce,<br> +The while the bells, that mwoan'd so deep<br> +Above our child a-left asleep,<br> +Wer now a-zingèn all alive<br> +Wi' tother bells to meäke the vive.<br> +But up at woone pleäce we come by,<br> +'Twere hard to keep woone's two eyes dry;<br> +On Steän-cliff road, 'ithin the drong,<br> +Up where, as vo'k do pass along,<br> +The turnèn stile, a-painted white,<br> +Do sheen by day an' show by night.<br> +Vor always there, as we did goo<br> +To church, thik stile did let us drough,<br> +Wi' spreadèn eärms that wheel'd to guide<br> +Us each in turn to tother zide.<br> +An' vu'st ov all the traïn he took<br> +My wife, wi' winsome gaït an' look;<br> +An' then zent on my little maïd,<br> +A-skippèn onward, overjäy'd<br> +To reach ageän the pleäce o' pride,<br> +Her comely mother's left han' zide.<br> +An' then, a-wheelèn roun' he took<br> +On me, 'ithin his third white nook.<br> +An' in the fourth, a-sheäken wild,<br> +He zent us on our giddy child.<br> +But eesterday he guided slow<br> +My downcast Jenny, vull o' woe,<br> +An' then my little maïd in black,<br> +A-walken softly on her track;<br> +An' after he'd a-turn'd ageän,<br> +To let me goo along the leäne,<br> +He had noo little bwoy to vill<br> +His last white eärms, an' they stood still.</blockquote> +<br> +<br> +<a name="BARNES_06"></a> +<blockquote><b>TO THE WATER-CROWFOOT</b><br> +<br> +O small-feäc'd flow'r that now dost bloom,<br> +To stud wi' white the shallow Frome,<br> +An' leäve the <a name="FNanchor2"></a><a href= +"#Footnote_2">[2]</a>clote to spread his flow'r<br> +On darksome pools o' stwoneless Stour,<br> +When sof'ly-rizèn airs do cool<br> +The water in the sheenèn pool,<br> +Thy beds o' snow white buds do gleam<br> +So feäir upon the sky-blue stream,<br> +As whitest clouds, a-hangèn high<br> +Avore the blueness of the sky.</blockquote> +<blockquote><a name="Footnote_2"></a><a href="#FNanchor2">[2]</a> +The yellow water-lily.</blockquote> +<br> +<br> +<a name="BARNES_07"></a> +<blockquote><b>ZUMMER AN' WINTER</b><br> +<br> +When I led by zummer streams<br> + The pride o' Lea, as naïghbours +thought her,<br> + While the zun, wi' evenèn beams,<br> +Did cast our sheädes athirt the water:<br> + Winds a-blowèn,<br> + Streams a-flowèn,<br> + Skies a-glowèn,<br> +Tokens ov my jay zoo fleetèn,<br> +Heightened it, that happy meetèn.<br> +<br> +Then, when maïd and man took pleäces,<br> + Gay in winter's Chris'mas dances,<br> +Showèn in their merry feäces<br> + Kindly smiles an' glisnèn glances:<br> + Stars a-winkèn,<br> + Days a-shrinkèn,<br> + Sheädes +a-zinkèn,<br> +Brought anew the happy meetèn,<br> +That did meäke the night too fleetèn.</blockquote> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BARRIE"></a> +<h2>JAMES MATTHEW BARRIE</h2> +<h3>(1860-)</h3> +<br> +<p class="par"><img src="images/letter-j.png" width="30%" alt= +""></p> +<p>ames Matthew Barrie was born May 9th, 1860, at Kirriemuir, +Scotland ('Thrums'); son of a physician whom he has lovingly +embodied as 'Dr. McQueen,' and with a mother and sister who will +live as 'Jess' and 'Leeby.' After an academy course at Dumfries he +entered the University of Edinburgh at eighteen, where he graduated +M.A., and took honors in the English Literature class. A few months +later he took a place on a newspaper in Nottingham, England, and in +the spring of 1885 went to London, where the papers had begun to +accept his work.</p> +<p class="rgt"><img src="images/image-139.png" width="45%" alt= +""><br> +<b>James M. Barrie.</b></p> +<p>Above all, the St. James's Gazette had published the first of +the 'Auld Licht Idylls' November 17th, 1884; and the editor, +Frederick Greenwood, instantly perceiving a new and rich genius, +advised him to work the vein further, enforcing the advice by +refusing to accept his contributions on other subjects.</p> +<p>He had the usual painful struggle to become a successful +journalist, detailed in 'When a Man's Single'; but his real work +was other and greater. In 1887 'When a Man's Single' came out +serially in the British Weekly; it has little merit except in the +Scottish prelude, which is of high quality in style and pathos. It +is curious how utterly his powers desert him the moment he leaves +his native heath: like Antæus, he is a giant on his mother +earth and a pigmy off it. His first published book was 'Better +Dead' (1887); it works out a cynical idea which would be amusing in +five pages, but is diluted into tediousness by being spread over +fifty. But in 1889 came a second masterpiece, 'A Window in Thrums,' +a continuation of the Auld Licht series from an inside instead of +an outside standpoint,--not superior to the first, but their full +equals in a deliciousness of which one cannot say how much is +matter and how much style. 'My Lady Nicotine' appeared in 1890; it +was very popular, and has some amusing sketches, but no enduring +quality. 'An Edinburgh Eleven' (1890) is a set of sketches of his +classmates and professors.</p> +<p>In 1891 the third of his Scotch works appeared,--'The Little +Minister,'--which raised him from the rank of an admirable sketch +writer to that of an admirable novelist, despite its fantastic plot +and detail. Since then he has written three plays,--'Walker, +London,' 'Jane Annie,' and 'The Professor's Love Story,' the latter +very successful and adding to his reputation; but no literature +except his novel 'Sentimental Tommy,' just closed in Scribner's +Magazine. This novel is not only a great advance on 'The Little +Minister' in symmetry of construction, reality of matter, tragic +power, and insight, but its tone is very different. Though as rich +in humor, the humor is largely of a grim, bitter, and sardonic +sort. The light, gay, buoyant fun of 'The Little Minister,' which +makes it a perpetual enjoyment, has mostly vanished; in its stead +we feel that the writer's sensitive nature is wrung by the swarming +catastrophes he cannot avert, the endless wrecks on the ocean of +life he cannot succor, and hardly less by those spiritual tragedies +and ironies so much worse, on a true scale of valuation, than any +material misfortune.</p> +<p>The full secret of Mr. Barrie's genius, as of all genius, eludes +analysis; but some of its characteristics are not hard to define. +His wonderful keenness of observation and tenacity of remembrance +of the pettinesses of daily existence, which in its amazing +minuteness reminds us of Dickens and Mark Twain, and his +sensitiveness to the humorous aspects of their little misfits and +hypocrisies and lack of proportion, might if untempered have made +him a literary cynic like some others, remembered chiefly for the +salience he gave to the ugly meannesses of life and the ironies of +fate. But his good angel added to these a gift of quick, sure, and +spontaneous sympathy and wide spiritual understanding. This fills +all his higher work with a generous appreciativeness, a justness of +judgment, a tenderness of feeling, which elevate as well as charm +the reader. He makes us love the most grotesque characters, whom in +life we should dislike and avoid, by the sympathetic fineness of +his interpretation of their springs of life and their warping by +circumstance. The impression left on one by the studies of the +Thrums community is not primarily of intellectual and spiritual +narrowness, or niggardly thrift, or dour natures: all are there, +but with them are souls reaching after God and often flowering into +beauty, and we reverence the quenchless aspiration of maligned +human nature for an ideal far above its reach. He achieves the rare +feat of portraying every pettiness and prejudice, even the +meannesses and dishonors of a poor and hidebound country village, +yet leaving us with both sincere respect and warm liking for it; a +thing possible only to one himself of a fine nature as well as of a +large mind. Nor is there any mawkishness or cheap surface +sentimentality in it all. His pathos never makes you wince: you can +always read his works aloud, the deadly and unfailing test of +anything flat or pinchbeck in literature. His gift of humor saves +him from this: true humor and true pathos are always found together +because they are not two but one, twin aspects of the very same +events. He who sees the ludicrous in misfits must see their sadness +too; he who can laugh at a tumble must grieve over it: both are +inevitable and both are coincident.</p> +<p>As a literary artist, he belongs in the foremost rank. He has +that sense of the typical in incident, of the universal in feeling, +and of the suggestive in language, which mark the chiefs of +letters. No one can express an idea with fewer strokes; he never +expands a sufficient hint into an essay. His management of the +Scotch dialect is masterly: he uses it sparingly, in the nearest +form to English compatible with retaining the flavor; he never +makes it so hard as to interfere with enjoyment; in few dialect +writers do we feel so little alienness.</p> +<p>'Auld Licht Idylls' is a set of regular descriptions of the life +of "Thrums," with special reference to the ways and character of +the "Old Lights," the stubborn conservative Scotch Puritans; it +contains also a most amusing and characteristic love story of the +sect (given below), and a satiric political skit. 'A Window in +Thrums' is mainly a series of selected incidents in detail, partly +from the point of view of a crippled woman ("Jess"), sitting at her +window and piecing out what she sees with great shrewdness from her +knowledge of the general current of affairs, aided by her daughter +"Leeby." 'The Little Minister' is developed from the real story of +a Scotch clergyman who brought home a wife from afar, of so alien a +sort to the general run that the parish spent the rest of her short +life in speculating on her previous history and weaving legends +about her. Barrie's imagined explanation is of Arabian-Nights +preposterousness of incident, and indeed is only a careless +fairy-tale in substance; but it is so rich in delicious filling, so +full of his best humor, sentiment, character-drawing, and fine +feeling, that one hardly cares whether it has any plot at all. +'Sentimental Tommy' is a study of a sensitive mobile boy, a born +<i>poseur</i>, who passes his life in cloud-castles where he always +dramatizes himself as the hero, who has no continuity of purpose, +and no capacity of self-sacrifice except in spasms of impulse, and +in emotional feeling which is real to itself; a spiritual Proteus +who deceives even himself, and only now and then recognizes his own +moral illusiveness, like Hawthorne's scarecrow-gentleman before the +mirror: but with the irresistible instincts also of the born +literary creator and constructor. The other characters are drawn +with great power and truth.</p> +<p>The judgment of contemporaries is rarely conclusive; and we will +not attempt to anticipate that of posterity. It may be said, +however, that the best applicable touchstone of permanency is that +of seeming continuously fresh to cultivated tastes after many +readings; and that Mr. Barrie's four best books bear the test +without failure.</p> +<br> +<a name="BARRIE_01"></a> +<center><b>THE COURTING OF T'NOWHEAD'S BELL</b></center> +<br> +<center>From 'Auld Licht Idylls'</center> +<br> +<p>For two years it had been notorious in the square that Sam'l +Dickie was thinking of courting T'nowhead's Bell, and that if +little Sanders Elshioner (which is the Thrums pronunciation of +Alexander Alexander) went in for her, he might prove a formidable +rival. Sam'l was a weaver in the Tenements, and Sanders a +coal-carter whose trade-mark was a bell on his horse's neck that +told when coals were coming. Being something of a public man, +Sanders had not, perhaps, so high a social position as Sam'l; but +he had succeeded his father on the coal-cart, while the weaver had +already tried several trades. It had always been against Sam'l, +too, that once when the kirk was vacant he had advised the +selection of the third minister who preached for it, on the ground +that it came expensive to pay a large number of candidates. The +scandal of the thing was hushed up, out of respect for his father, +who was a God-fearing man, but Sam'l was known by it in Lang +Tammas's circle. The coal-carter was called Little Sanders, to +distinguish him from his father, who was not much more than half +his size. He had grown up with the name, and its inapplicability +now came home to nobody. Sam'l's mother had been more far-seeing +than Sanders's. Her man had been called Sammy all his life, because +it was the name he got as a boy, so when their eldest son was born +she spoke of him as Sam'l while still in his cradle. The neighbors +imitated her, and thus the young man had a better start in life +than had been granted to Sammy, his father.</p> +<p>It was Saturday evening--the night in the week when Auld Licht +young men fell in love. Sam'l Dickie, wearing a blue Glengarry +bonnet with a red ball on the top, came to the door of a one-story +house in the Tenements, and stood there wriggling, for he was in a +suit of tweeds for the first time that week, and did not feel at +one with them. When his feeling of being a stranger to himself wore +off, he looked up and down the road, which straggles between houses +and gardens, and then, picking his way over the puddles, crossed to +his father's hen-house and sat down on it. He was now on his way to +the square.</p> +<p>Eppie Fargus was sitting on an adjoining dike, knitting +stockings, and Sam'l looked at her for a time.</p> +<p>"Is't yersel, Eppie?" he said at last.</p> +<p>"It's a' that," said Eppie.</p> +<p>"Hoo's a' wi' ye?" asked Sam'l.</p> +<p>"We're juist aff an' on," replied Eppie, cautiously.</p> +<p>There was not much more to say, but as Sam'l sidled off the +hen-house, he murmured politely, "Ay, ay." In another minute he +would have been fairly started, but Eppie resumed the +conversation.</p> +<p>"Sam'l," she said, with a twinkle in her eye, "ye can tell +Lisbeth Fargus I'll likely be drappin' in on her aboot Munday or +Teisday."</p> +<p>Lisbeth was sister to Eppie, and wife of Thomas McQuhatty, +better known as T'nowhead, which was the name of his farm. She was +thus Bell's mistress.</p> +<p>Sam'l leaned against the hen-house, as if all his desire to +depart had gone.</p> +<p>"Hoo d'ye kin I'll be at the T'nowhead the nicht?" he asked, +grinning in anticipation.</p> +<p>"Ou, I'se warrant ye'll be after Bell," said Eppie.</p> +<p>"Am no sae sure o' that," said Sam'l, trying to leer. He was +enjoying himself now.</p> +<p>"Am no sure o' that," he repeated, for Eppie seemed lost in +stitches.</p> +<p>"Sam'l?"</p> +<p>"Ay."</p> +<p>"Ye'll be speirin' her sune noo, I dinna doot?"</p> +<p>This took Sam'l, who had only been courting Bell for a year or +two, a little aback.</p> +<p>"Hoo d'ye mean, Eppie?" he asked.</p> +<p>"Maybe ye'll do't the nicht."</p> +<p>"Na, there's nae hurry," said Sam'l.</p> +<p>"Weel, we're a' coontin' on't, Sam'l."</p> +<p>"Gae wa wi' ye."</p> +<p>"What for no?"</p> +<p>"Gae wa wi' ye," said Sam'l again.</p> +<p>"Bell's gei an' fond o' ye, Sam'l."</p> +<p>"Ay," said Sam'l.</p> +<p>"But am dootin' ye're a fell billy wi' the lasses."</p> +<p>"Ay, oh, I d'na kin, moderate, moderate," said Sam'l, in high +delight.</p> +<p>"I saw ye," said Eppie, speaking with a wire in her mouth, "gaen +on terr'ble wi' Mysy Haggart at the pump last Saturday."</p> +<p>"We was juist amoosin' oorsels," said Sam'l.</p> +<p>"It'll be nae amoosement to Mysy," said Eppie, "gin ye brak her +heart."</p> +<p>"Losh, Eppie," said Sam'l, "I didna think o' that."</p> +<p>"Ye maun kin weel, Sam'l, at there's mony a lass wid jump at +ye."</p> +<p>"Ou, weel," said Sam'l, implying that a man must take these +things as they come.</p> +<p>"For ye're a dainty chield to look at, Sam'l."</p> +<p>"Do ye think so, Eppie? Ay, ay; oh, I d'na kin am onything by +the ordinar."</p> +<p>"Ye mayna be," said Eppie, "but lasses doesna do to be ower +partikler."</p> +<p>Sam'l resented this, and prepared to depart again.</p> +<p>"Ye'll no tell Bell that?" he asked, anxiously.</p> +<p>"Tell her what?"</p> +<p>"Aboot me an' Mysy."</p> +<p>"We'll see hoo ye behave yersel, Sam'l."</p> +<p>"No 'at I care, Eppie; ye can tell her gin ye like. I widna +think twice o' tellin' her mysel."</p> +<p>"The Lord forgie ye for leein', Sam'l," said Eppie, as he +disappeared down Tammy Tosh's close. Here he came upon Henders +Webster.</p> +<p>"Ye're late, Sam'l," said Henders.</p> +<p>"What for?"</p> +<p>"Ou, I was thinkin' ye wid be gaen the length o' T'nowhead the +nicht, an' I saw Sanders Elshioner makkin's wy there an oor +syne."</p> +<p>"Did ye?" cried Sam'l, adding craftily; "but its naething to +me."</p> +<p>"Tod, lad," said Henders; "gin ye dinna buckle to, Sanders'll be +carryin' her off!"</p> +<p>Sam'l flung back his head and passed on.</p> +<p>"Sam'l!" cried Henders after him.</p> +<p>"Ay," said Sam'l, wheeling round.</p> +<p>"Gie Bell a kiss frae me."</p> +<p>The full force of this joke struck neither all at once. Sam'l +began to smile at it as he turned down the school-wynd, and it came +upon Henders while he was in his garden feeding his ferret. Then he +slapped his legs gleefully, and explained the conceit to Will'um +Byars, who went into the house and thought it over.</p> +<p>There were twelve or twenty little groups of men in the square, +which was lighted by a flare of oil suspended over a cadger's cart. +Now and again a staid young woman passed through the square with a +basket on her arm, and if she had lingered long enough to give them +time, some of the idlers would have addressed her, As it was, they +gazed after her, and then grinned to each other.</p> +<p>"Ay, Sam'l," said two or three young men, as Sam'l joined them +beneath the town clock.</p> +<p>"Ay, Davit," replied Sam'l.</p> +<p>This group was composed of some of the sharpest wits in Thrums, +and it was not to be expected that they would let this opportunity +pass. Perhaps when Sam'l joined them he knew what was in store for +him.</p> +<p>"Was ye lookin' for T'nowhead's Bell, Sam'l?" asked one.</p> +<p>"Or mebbe ye was wantin' the minister?" suggested another, the +same who had walked out twice with Chirsty Duff and not married her +after all.</p> +<p>Sam'l could not think of a good reply at the moment, so he +laughed good-naturedly.</p> +<p>"Ondoobtedly she's a snod bit crittur," said Davit, archly.</p> +<p>"An' michty clever wi' her fingers," added Jamie Deuchars.</p> +<p>"Man, I've thocht o' makkin' up to Bell myself," said Pete Ogle. +"Wid there be ony chance, think ye, Sam'l?"</p> +<p>"I'm thinkin' she widna hae ye for her first, Pete," replied +Sam'l, in one of those happy flashes that come to some men, "but +there's nae sayin' but what she micht tak ye to finish up wi'."</p> +<p>The unexpectedness of this sally startled every one. Though +Sam'l did not set up for a wit, however, like Davit, it was +notorious that he could say a cutting thing once in a way.</p> +<p>"Did ye ever see Bell reddin' up?" asked Pete, recovering from +his overthrow. He was a man who bore no malice.</p> +<p>"It's a sicht," said Sam'l, solemnly.</p> +<p>"Hoo will that be?" asked Jamie Deuchars.</p> +<p>"It's weel worth yer while," said Pete, "to ging atower to the +T'nowhead an' see. Ye'll mind the closed-in beds i' the kitchen? +Ay, weel, they're a fell spoilt crew, T'nowhead's litlins, an' no +that aisy to manage. Th' ither lasses Lisbeth's ha'en had a michty +trouble wi' them. When they war i' the middle o' their reddin up +the bairns wid come tumlin' about the floor, but, sal, I assure ye, +Bell didna fash lang wi' them. Did she, Sam'l?"</p> +<p>"She did not," said Sam'l, dropping into a fine mode of speech +to add emphasis to his remark.</p> +<p>"I'll tell ye what she did," said Pete to the others. "She juist +lifted up the litlins, twa at a time, an' flung them into the +coffin-beds. Syne she snibbit the doors on them, an' keepit them +there till the floor was dry."</p> +<p>"Ay, man, did she so?" said Davit, admiringly.</p> +<p>"I've seen her do't myself," said Sam'l.</p> +<p>"There's no a lassie maks better bannocks this side o' Fetter +Lums," continued Pete.</p> +<p>"Her mither tocht her that," said Sam'l; "she was a gran' han' +at the bakin', Kitty Ogilvy."</p> +<p>"I've heard say," remarked Jamie, putting it this way so as not +to tie himself down to anything, "'at Bell's scones is equal to Mag +Lunan's."</p> +<p>"So they are," said Sam'l, almost fiercely.</p> +<p>"I kin she's a neat han' at singein' a hen," said Pete.</p> +<p>"An' wi't a'," said Davit, "she's a snod, canty bit stocky in +her Sabbath claes."</p> +<p>"If onything, thick in the waist," suggested Jamie.</p> +<p>"I dinna see that," said Sam'l.</p> +<p>"I d'na care for her hair either," continued Jamie, who was very +nice in his tastes; "something mair yallowchy wid be an +improvement."</p> +<p>"A'body kins," growled Sam'l, "'at black hair's the +bonniest."</p> +<p>The others chuckled.</p> +<p>"Puir Sam'l!" Pete said.</p> +<p>Sam'l, not being certain whether this should be received with a +smile or a frown, opened his mouth wide as a kind of compromise. +This was position one with him for thinking things over.</p> +<p>Few Auld Lichts, as I have said, went the length of choosing a +helpmate for themselves. One day a young man's friends would see +him mending the washing-tub of a maiden's mother. They kept the +joke until Saturday night, and then he learned from them what he +had been after. It dazed him for a time, but in a year or so he +grew accustomed to the idea, and they were then married. With a +little help, he fell in love just like other people.</p> +<p>Sam'l was going the way of the others, but he found it difficult +to come to the point. He only went courting once a week, and he +could never take up the running at the place where he left off the +Saturday before. Thus he had not, so far, made great headway. His +method of making up to Bell had been to drop in at T'nowhead on +Saturday nights and talk with the farmer about the rinderpest.</p> +<p>The farm-kitchen was Bell's testimonial. Its chairs, tables, and +stools were scoured by her to the whiteness of Rob Angus's saw-mill +boards, and the muslin blind on the window was starched like a +child's pinafore. Bell was brave, too, as well as energetic. Once +Thrums had been overrun with thieves. It is now thought that there +may have been only one; but he had the wicked cleverness of a gang. +Such was his repute, that there were weavers who spoke of locking +their doors when they went from home. He was not very skillful, +however, being generally caught, and when they said they knew he +was a robber he gave them their things back and went away. If they +had given him time there is no doubt that he would have gone off +with his plunder. One night he went to T'nowhead, and Bell, who +slept in the kitchen, was awakened by the noise. She knew who it +would be, so she rose and dressed herself, and went to look for him +with a candle. The thief had not known what to do when he got in, +and as it was very lonely he was glad to see Bell. She told him he +ought to be ashamed of himself, and would not let him out by the +door until he had taken off his boots, so as not to soil the +carpet.</p> +<p>On this Saturday evening Sam'l stood his ground in the square, +until by and by he found himself alone. There were other groups +there still, but his circle had melted away. They went separately, +and no one said good-night. Each took himself off slowly, backing +out of the group until he was fairly started.</p> +<p>Sam'l looked about him, and then, seeing that the others had +gone, walked round the town-house into the darkness of the brae +that leads down and then up to the farm of T'nowhead.</p> +<p>To get into the good graces of Lisbeth Fargus you had to know +her ways and humor them. Sam'l, who was a student of women, knew +this, and so, instead of pushing the door open and walking in, he +went through the rather ridiculous ceremony of knocking. Sanders +Elshioner was also aware of this weakness of Lisbeth, but though he +often made up his mind to knock, the absurdity of the thing +prevented his doing so when he reached the door. T'nowhead himself +had never got used to his wife's refined notions, and when any one +knocked he always started to his feet, thinking there must be +something wrong.</p> +<p>Lisbeth came to the door, her expansive figure blocking the way +in.</p> +<p>"Sam'l," she said.</p> +<p>"Lisbeth," said Sam'l.</p> +<p>He shook hands with the farmer's wife, knowing that she liked +it, but only said, "Ay, Bell," to his sweetheart, "Ay, T'nowhead," +to McQuhatty, and "It's yersel, Sanders," to his rival.</p> +<p>They were all sitting round the fire; T'nowhead with his feet on +the ribs, wondering why he felt so warm, and Bell darned a +stocking, while Lisbeth kept an eye on a goblet full of +potatoes.</p> +<p>"Sit in to the fire, Sam'l," said the farmer, not, however, +making way for him.</p> +<p>"Na, na," said Sam'l, "I'm to bide nae time." Then he sat in to +the fire. His face was turned away from Bell, and when she spoke he +answered her without looking round. Sam'l felt a little anxious. +Sanders Elshioner, who had one leg shorter than the other, but +looked well when sitting, seemed suspiciously at home. He asked +Bell questions out of his own head, which was beyond Sam'l, and +once he said something to her in such a low voice that the others +could not catch it. T'nowhead asked curiously what it was, and +Sanders explained that he had only said, "Ay, Bell, the morn's the +Sabbath." There was nothing startling in this, but Sam'l did not +like it. He began to wonder if he was too late, and had he seen his +opportunity would have told Bell of a nasty rumor, that Sanders +intended to go over to the Free Church if they would make him +kirk-officer.</p> +<p>Sam'l had the good-will of T'nowhead's wife, who liked a polite +man. Sanders did his best, but from want of practice he constantly +made mistakes. To-night, for instance, he wore his hat in the +house, because he did not like to put up his hand and take it off. +T'nowhead had not taken his off either, but that was because he +meant to go out by and by and lock the byre door. It was impossible +to say which of her lovers Bell preferred. The proper course with +an Auld Licht lassie was to prefer the man who proposed to her.</p> +<p>"Yell bide a wee, an' hae something to eat?" Lisbeth asked +Sam'l, with her eyes on the goblet.</p> +<p>"No, I thank ye," said Sam'l, with true gentility.</p> +<p>"Ye'll better?"</p> +<p>"I dinna think it."</p> +<p>"Hoots ay; what's to hender ye?"</p> +<p>"Weel, since ye're sae pressin', I'll bide."</p> +<p>No one asked Sanders to stay. Bell could not, for she was but +the servant, and T'nowhead knew that the kick his wife had given +him meant that he was not to do so either. Sanders whistled to show +that he was not uncomfortable.</p> +<p>"Ay, then, I'll be stappin' ower the brae," he said at last.</p> +<p>He did not go, however. There was sufficient pride in him to get +him off his chair, but only slowly, for he had to get accustomed to +the notion of going. At intervals of two or three minutes he +remarked that he must now be going. In the same circumstances Sam'l +would have acted similarly. For a Thrums man it is one of the +hardest things in life to get away from anywhere.</p> +<p>At last Lisbeth saw that something must be done. The potatoes +were burning, and T'nowhead had an invitation on his tongue.</p> +<p>"Yes, I'll hae to be movin'," said Sanders, hopelessly, for the +fifth time.</p> +<p>"Guid-nicht to ye, then, Sanders," said Lisbeth. "Gie the door a +fling-to ahent ye."</p> +<p>Sanders, with a mighty effort, pulled himself together. He +looked boldly at Bell, and then took off his hat carefully. Sam'l +saw with misgivings that there was something in it which was not a +handkerchief. It was a paper bag glittering with gold braid, and +contained such an assortment of sweets as lads bought for their +lasses on the Muckle Friday.</p> +<p>"Hae, Bell," said Sanders, handing the bag to Bell in an +off-hand way, as if it were but a trifle. Nevertheless, he was a +little excited, for he went off without saying good-night.</p> +<p>No one spoke. Bell's face was crimson. T'nowhead fidgeted on his +chair, and Lisbeth looked at Sam'l. The weaver was strangely calm +and collected, though he would have liked to know whether this was +a proposal.</p> +<p>"Sit in by to the table, Sam'l," said Lisbeth, trying to look as +if things were as they had been before.</p> +<p>She put a saucerful of butter, salt, and pepper near the fire to +melt, for melted butter is the shoeing-horn that helps over a meal +of potatoes. Sam'l, however, saw what the hour required, and +jumping up, he seized his bonnet.</p> +<p>"Hing the tatties higher up the joist, Lisbeth," he said with +dignity; "I'se be back in ten meenits."</p> +<p>He hurried out of the house, leaving the others looking at each +other.</p> +<p>"What do ye think?" asked Lisbeth.</p> +<p>"I d'na kin," faltered Bell.</p> +<p>"Thae tatties is lang o' comin' to the boil," said +T'nowhead.</p> +<p>In some circles a lover who behaved like Sam'l would have been +suspected of intent upon his rival's life, but neither Bell nor +Lisbeth did the weaver that injustice. In a case of this kind it +does not much matter what T'nowhead thought.</p> +<p>The ten minutes had barely passed when Sam'l was back in the +farm-kitchen. He was too flurried to knock this time, and indeed +Lisbeth did not expect it of him.</p> +<p>"Bell, hae!" he cried, handing his sweetheart a tinsel bag twice +the size of Sanders' gift.</p> +<p>"Losh preserve's!" exclaimed Lisbeth; "I'se warrant there's a +shillin's worth."</p> +<p>"There's a' that, Lisbeth--an' mair," said Sam'l, firmly.</p> +<p>"I thank ye, Sam'l," said Bell, feeling an unwonted elation as +she gazed at the two paper bags in her lap.</p> +<p>"Ye're ower extravegint, Sam'l," Lisbeth said.</p> +<p>"Not at all," said Sam'l; "not at all. But I wouldna advise ye +to eat thae ither anes, Bell--they're second quality."</p> +<p>Bell drew back a step from Sam'l.</p> +<p>"How do ye kin?" asked the farmer, shortly; for he liked +Sanders.</p> +<p>"I speired i' the shop," said Sam'l.</p> +<p>The goblet was placed on a broken plate on the table, with the +saucer beside it, and Sam'l, like the others, helped himself. What +he did was to take potatoes from the pot with his fingers, peel off +their coats, and then dip them into the butter. Lisbeth would have +liked to provide knives and forks, but she knew that beyond a +certain point T'nowhead was master in his own house. As for Sam'l, +he felt victory in his hands, and began to think that he had gone +too far.</p> +<p>In the meantime, Sanders, little witting that Sam'l had trumped +his trick, was sauntering along the kirk-wynd with his hat on the +side of his head. Fortunately he did not meet the minister.</p> +<p>The courting of T'nowhead's Bell reached its crisis one Sabbath +about a month after the events above recorded. The minister was in +great force that day, but it is no part of mine to tell how he bore +himself. I was there, and am not likely to forget the scene. It was +a fateful Sabbath for T'nowhead's Bell and her swains, and destined +to be remembered for the painful scandal which they perpetrated in +their passion.</p> +<p>Bell was not in the kirk. There being an infant of six months in +the house, it was a question of either Lisbeth or the lassie's +staying at home with him, and though Lisbeth was unselfish in a +general way, she could not resist the delight of going to church. +She had nine children besides the baby, and being but a woman, it +was the pride of her life to march them into the T'nowhead pew, so +well watched that they dared not disbehave, and so tightly packed +that they could not fall. The congregation looked at that pew, the +mothers enviously, when they sung the lines:--</p> +<blockquote>"Jerusalem like a city is<br> +Compactly built together."</blockquote> +<p>The first half of the service had been gone through on this +particular Sunday without anything remarkable happening. It was at +the end of the psalm which preceded the sermon that Sanders +Elshioner, who sat near the door, lowered his head until it was no +higher than the pews, and in that attitude, looking almost like a +four-footed animal, slipped out of the church. In their eagerness +to be at the sermon, many of the congregation did not notice him, +and those who did, put the matter by in their minds for future +investigation. Sam'l, however, could not take it so coolly. From +his seat in the gallery he saw Sanders disappear and his mind +misgave him. With the true lover's instinct, he understood it all. +Sanders had been struck by the fine turn-out in the T'nowhead pew. +Bell was alone at the farm. What an opportunity to work one's way +up to a proposal. T'nowhead was so overrun with children that such +a chance seldom occurred, except on a Sabbath. Sanders, doubtless, +was off to propose, and he, Sam'l, was left behind.</p> +<p>The suspense was terrible. Sam'l and Sanders had both known all +along that Bell would take the first of the two who asked her. Even +those who thought her proud admitted that she was modest. Bitterly +the weaver repented having waited so long. Now it was too late. In +ten minutes Sanders would be at T'nowhead; in an hour all would be +over. Sam'l rose to his feet in a daze. His mother pulled him down +by the coat-tail, and his father shook him, thinking he was walking +in his sleep. He tottered past them, however, hurried up the aisle, +which was so narrow that Dan'l Ross could only reach his seat by +walking sideways, and was gone before the minister could do more +than stop in the middle of a whirl and gape in horror after +him.</p> +<p>A number of the congregation felt that day the advantage of +sitting in the laft. What was a mystery to those down-stairs was +revealed to them. From the gallery windows they had a fine open +view to the south; and as Sam'l took the common, which was a short +cut, though a steep ascent, to T'nowhead, he was never out of their +line of vision. Sanders was not to be seen, but they guessed +rightly the reason why. Thinking he had ample time, he had gone +round by the main road to save his boots--perhaps a little scared +by what was coming. Sam'l's design was to forestall him by taking +the shorter path over the burn and up the commonty.</p> +<p>It was a race for a wife, and several onlookers in the gallery +braved the minister's displeasure to see who won. Those who favored +Sam'l's suit exultingly saw him leap the stream, while the friends +of Sanders fixed their eyes on the top of the common where it ran +into the road. Sanders must come into sight there, and the one who +reached this point first would get Bell.</p> +<p>As Auld Lichts do not walk abroad on the Sabbath, Sanders would +probably not be delayed. The chances were in his favor. Had it been +any other day in the week, Sam'l might have run. So some of the +congregation in the gallery were thinking, when suddenly they saw +him bend low and then take to his heels. He had caught sight of +Sanders's head bobbing over the hedge that separated the road from +the common, and feared that Sanders might see him. The congregation +who could crane their necks sufficiently saw a black object, which +they guessed to be the carter's hat, crawling along the hedge-top. +For a moment it was motionless, and then it shot ahead. The rivals +had seen each other. It was now a hot race. Sam'l, dissembling no +longer, clattered up the common, becoming smaller and smaller to +the onlookers as he neared the top. More than one person in the +gallery almost rose to their feet in their excitement. Sam'l had +it. No, Sanders was in front. Then the two figures disappeared from +view. They seemed to run into each other at the top of the brae, +and no one could say who was first. The congregation looked at one +another. Some of them perspired. But the minister held on his +course.</p> +<p>Sam'l had just been in time to cut Sanders out. It was the +weaver's saving that Sanders saw this when his rival turned the +corner; for Sam'l was sadly blown. Sanders took in the situation +and gave in at once. The last hundred yards of the distance he +covered at his leisure, and when he arrived at his destination he +did not go in. It was a fine afternoon for the time of year, and he +went round to have a look at the pig, about which T'nowhead was a +little sinfully puffed up.</p> +<p>"Ay," said Sanders, digging his fingers critically into the +grunting animal; "quite so."</p> +<p>"Grumph!" said the pig, getting reluctantly to his feet.</p> +<p>"Ou ay; yes," said Sanders, thoughtfully.</p> +<p>Then he sat down on the edge of the sty, and looked long and +silently at an empty bucket. But whether his thoughts were of +T'nowhead's Bell, whom he had lost forever, or of the food the +farmer fed his pig on, is not known.</p> +<p>"Lord preserve's! Are ye no at the kirk?" cried Bell, nearly +dropping the baby as Sam'l broke into the room.</p> +<p>"Bell!" cried Sam'l.</p> +<p>Then T'nowhead's Bell knew that her hour had come.</p> +<p>"Sam'l," she faltered.</p> +<p>"Will ye hae's, Bell?" demanded Sam'l, glaring at her +sheepishly.</p> +<p>"Ay," answered Bell.</p> +<p>Sam'l fell into a chair.</p> +<p>"Bring's a drink o' water, Bell," he said.</p> +<p>But Bell thought the occasion required milk, and there was none +in the kitchen. She went out to the byre, still with the baby in +her arms, and saw Sanders Elshioner sitting gloomily on the +pig-sty.</p> +<p>"Weel, Bell," said Sanders.</p> +<p>"I thocht ye'd been at the kirk, Sanders," said Bell.</p> +<p>Then there was a silence between them.</p> +<p>"Has Sam'l speired ye, Bell?" asked Sanders, stolidly.</p> +<p>"Ay," said Bell again, and this time there was a tear in her +eye. Sanders was little better than an "orra man," and Sam'l was a +weaver, and yet--</p> +<p>But it was too late now. Sanders gave the pig a vicious poke +with a stick, and when it had ceased to grunt, Bell was back in the +kitchen. She had forgotten about the milk, however, and Sam'l only +got water after all.</p> +<p>In after days, when the story of Bell's wooing was told, there +were some who held that the circumstances would have almost +justified the lassie in giving Sam'l the go-by. But these perhaps +forgot that her other lover was in the same predicament as the +accepted one--that, of the two, indeed, he was the more to blame, +for he set off to T'nowhead on the Sabbath of his own accord, while +Sam'l only ran after him. And then there is no one to say for +certain whether Bell heard of her suitors' delinquencies until +Lisbeth's return from the kirk. Sam'l could never remember whether +he told her, and Bell was not sure whether, if he did, she took it +in. Sanders was greatly in demand for weeks after to tell what he +knew of the affair, but though he was twice asked to tea to the +manse among the trees, and subjected thereafter to ministerial +cross-examinations, this is all he told. He remained at the pigsty +until Sam'l left the farm, when he joined him at the top of the +brae, and they went home together.</p> +<p>"It's yersel, Sanders," said Sam'l.</p> +<p>"It is so, Sam'l," said Sanders.</p> +<p>"Very cauld," said Sam'l.</p> +<p>"Blawy," assented Sanders.</p> +<p>After a pause--</p> +<p>"Sam'l," said Sanders.</p> +<p>"Ay."</p> +<p>"I'm hearin' yer to be mairit."</p> +<p>"Ay."</p> +<p>"Weel, Sam'l, she's a snod bit lassie."</p> +<p>"Thank ye," said Sam'l.</p> +<p>"I had ance a kin' o' notion o' Bell mysel," continued +Sanders.</p> +<p>"Ye had?"</p> +<p>"Yes, Sam'l; but I thocht better o't."</p> +<p>"Hoo d'ye mean?" asked Sam'l, a little anxiously.</p> +<p>"Weel, Sam'l, mairitch is a terrible responsibeelity."</p> +<p>"It is so," said Sam'l, wincing.</p> +<p>"An' no the thing to take up withoot conseederation."</p> +<p>"But it's a blessed and honorable state, Sanders; ye've heard +the minister on't."</p> +<p>"They say," continued the relentless Sanders, "'at the minister +doesna get on sair wi' the wife himsel."</p> +<p>"So they do," cried Sam'l, with a sinking at the heart.</p> +<p>"I've been telt," Sanders went on, "'at gin you can get the +upper han' o' the wife for awhile at first, there's the mair chance +o' a harmonious exeestence."</p> +<p>"Bell's no the lassie," said Sam'l, appealingly, "to thwart her +man."</p> +<p>Sanders smiled.</p> +<p>"D'ye think she is, Sanders?"</p> +<p>"Weel, Sam'l, I d'na want to fluster ye, but she's been ower +lang wi' Lisbeth Fargus no to hae learnt her ways. An' a'body kins +what a life T'nowhead has wi' her."</p> +<p>"Guid sake, Sanders, hoo did ye no speak o' this afoore?"</p> +<p>"I thocht ye kent o't, Sam'l."</p> +<p>They had now reached the square, and the U.P. kirk was coming +out. The Auld Licht kirk would be half an hour yet.</p> +<p>"But, Sanders," said Sam'l, brightening up, "ye was on yer wy to +spier her yersel."</p> +<p>"I was, Sam'l," said Sanders, "and I canna but be thankfu' ye +was ower quick for's."</p> +<p>"Gin't hadna been for you," said Sam'l, "I wid never hae thocht +o't."</p> +<p>"I'm sayin' naething agin Bell," pursued the other, "but, man +Sam'l, a body should be mair deleeberate in a thing o' the +kind."</p> +<p>"It was michty hurried," said Sam'l, wofully.</p> +<p>"It's a serious thing to spier a lassie," said Sanders.</p> +<p>"It's an awfu' thing," said Sam'l.</p> +<p>"But we'll hope for the best," added Sanders, in a hopeless, +voice.</p> +<p>They were close to the Tenements now, and Sam'l looked as if he +were on his way to be hanged.</p> +<p>"Sam'l?"</p> +<p>"Ay, Sanders."</p> +<p>"Did ye--did ye kiss her, Sam'l?"</p> +<p>"Na."</p> +<p>"Hoo?"</p> +<p>"There's was varra little time, Sanders."</p> +<p>"Half an 'oor," said Sanders.</p> +<p>"Was there? Man Sanders, to tell ye the truth, I never thocht +o't."</p> +<p>Then the soul of Sanders Elshioner was filled with contempt for +Sam'l Dickie.</p> +<p>The scandal blew over. At first it was expected that the +minister would interfere to prevent the union, but beyond +intimating from the pulpit that the souls of Sabbath-breakers were +beyond praying for, and then praying for Sam'l and Sanders at great +length, with a word thrown in for Bell, he let things take their +course. Some said it was because he was always frightened lest his +young men should intermarry with other denominations, but Sanders +explained it differently to Sam'l.</p> +<p>"I hav'na a word to say agin the minister," he said; "they're +gran' prayers, but Sam'l, he's a mairit man himsel."</p> +<p>"He's a' the better for that, Sanders, isna he?"</p> +<p>"Do ye no see," asked Sanders, compassionately, "'at he's tryin' +to mak the best o't?"</p> +<p>"Oh, Sanders, man!" said Sam'l.</p> +<p>"Cheer up, Sam'l," said Sanders; "it'll sune be ower."</p> +<p>Their having been rival suitors had not interfered with their +friendship. On the contrary, while they had hitherto been mere +acquaintances, they became inseparables as the wedding-day drew +near. It was noticed that they had much to say to each other, and +that when they could not get a room to themselves they wandered +about together in the churchyard. When Sam'l had anything to tell +Bell, he sent Sanders to tell it, and Sanders did as he was bid. +There was nothing that he would not have done for Sam'l.</p> +<p>The more obliging Sanders was, however, the sadder Sam'l grew. +He never laughed now on Saturdays, and sometimes his loom was +silent half the day. Sam'l felt that Sanders's was the kindness of +a friend for a dying man.</p> +<p>It was to be a penny wedding, and Lisbeth Fargus said it was +delicacy that made Sam'l superintend the fitting-up of the barn by +deputy. Once he came to see it in person, but he looked so ill that +Sanders had to see him home. This was on the Thursday afternoon, +and the wedding was fixed for Friday.</p> +<p>"Sanders, Sanders," said Sam'l, in a voice strangely unlike his +own, "it'll a' be ower by this time the morn."</p> +<p>"It will," said Sanders.</p> +<p>"If I had only kent her langer," continued Sam'l.</p> +<p>"It wid hae been safer," said Sanders.</p> +<p>"Did ye see the yallow floor in Bell's bonnet?" asked the +accepted swain.</p> +<p>"Ay," said Sanders, reluctantly.</p> +<p>"I'm dootin'--I'm sair dootin' she's but a flichty, +licht-hearted crittur, after a'."</p> +<p>"I had ay my suspeecions o't," said Sanders.</p> +<p>"Ye hae kent her langer than me," said Sam'l.</p> +<p>"Yes," said Sanders, "but there's nae gettin' at the heart o' +women. Man Sam'l, they're desperate cunnin'."</p> +<p>"I'm dootin't; I'm sair dootin't."</p> +<p>"It'll be a warnin' to ye, Sam'l, no to be in sic a hurry i' the +futur," said Sanders.</p> +<p>Sam'l groaned.</p> +<p>"Ye'll be gaein up to the manse to arrange wi' the minister the +morn's mornin'," continued Sanders, in a subdued voice.</p> +<p>Sam'l looked wistfully at his friend.</p> +<p>"I canna do't, Sanders," he said, "I canna do't."</p> +<p>"Ye maun," said Sanders.</p> +<p>"It's aisy to speak," retorted Sam'l, bitterly.</p> +<p>"We have a' oor troubles, Sam'l," said Sanders, soothingly, "an' +every man maun bear his ain burdens. Johnny Davie's wife's dead, +an' he's no repinin'."</p> +<p>"Ay," said Sam'l, "but a death's no a mairitch. We hae haen +deaths in our family, too."</p> +<p>"It may a' be for the best," added Sanders, "an' there wid be a +michty talk i' the hale country-side gin ye didna ging to the +minister like a man."</p> +<p>"I maun hae langer to think o't," said Sam'l.</p> +<p>"Bell's mairitch is the morn," said Sanders, decisively.</p> +<p>Sam'l glanced up with a wild look in his eyes.</p> +<p>"Sanders!" he cried.</p> +<p>"Sam'l!"</p> +<p>"Ye hae been a guid friend to me, Sanders, in this sair +affliction."</p> +<p>"Nothing ava," said Sanders; "dount mention't."</p> +<p>"But, Sanders, ye canna deny but what your rinnin oot o' the +kirk that awfu' day was at the bottom o't a'."</p> +<p>"It was so," said Sanders, bravely.</p> +<p>"An' ye used to be fond o' Bell, Sanders."</p> +<p>"I dinna deny't."</p> +<p>"Sanders, laddie," said Sam'l, bending forward and speaking in a +wheedling voice, "I aye thocht it was you she likit."</p> +<p>"I had some sic idea mysel," said Sanders.</p> +<p>"Sanders, I canna think to pairt twa fowk sae weel suited to ane +anither as you an' Bell."</p> +<p>"Canna ye, Sam'l?"</p> +<p>"She wid make ye a guid wife, Sanders. I hae studied her weel, +and she's a thrifty, douce, clever lassie. Sanders, there's no the +like o' her. Mony a time, Sanders, I hae said to mysel, There's a +lass ony man micht be prood to tak. A'body says the same, Sanders. +There's nae risk ava, man; nane to speak o'. Tak her, laddie, tak +her, Sanders, it's a grand chance, Sanders. She's yours for the +speirin. I'll gie her up, Sanders."</p> +<p>"Will ye, though?" said Sanders.</p> +<p>"What d'ye think?" asked Sam'l.</p> +<p>"If ye wid rayther," said Sanders, politely.</p> +<p>"There's my han' on't," said Sam'l. "Bless ye, Sanders; ye've +been a true frien' to me."</p> +<p>Then they shook hands for the first time in their lives; and +soon afterward Sanders struck up the brae to T'nowhead.</p> +<p>Next morning Sanders Elshioner, who had been very busy the night +before, put on his Sabbath clothes and strolled up to the +manse.</p> +<p>"But--but where is Sam'l?" asked the minister. "I must see +himself."</p> +<p>"It's a new arrangement," said Sanders.</p> +<p>"What do you mean, Sanders?"</p> +<p>"Bell's to marry me," explained Sanders.</p> +<p>"But--- but what does Sam'l say?"</p> +<p>"He's willin'," said Sanders.</p> +<p>"And Bell?"</p> +<p>"She's willin', too. She prefers it."</p> +<p>"It is unusual," said the minister.</p> +<p>"It's a' richt," said Sanders.</p> +<p>"Well, you know best," said the minister.</p> +<p>"You see, the hoose was taen, at ony rate," continued Sanders. +"An' I'll juist ging in til't instead o' Sam'l."</p> +<p>"Quite so."</p> +<p>"An" I cudna think to disappoint the lassie."</p> +<p>"Your sentiments do you credit, Sanders," said the minister; +"but I hope you do not enter upon the blessed state of matrimony +without full consideration of its responsibilities. It is a serious +business, marriage."</p> +<p>"It's a' that," said Sanders; "but I'm willin' to stan' the +risk."</p> +<p>So, as soon as it could be done, Sanders Elshioner took to wife +T'nowhead's Bell, and I remember seeing Sam'l Dickie trying to +dance at the penny wedding.</p> +<p>Years afterward it was said in Thrums that Sam'l had treated +Bell badly, but he was never sure about it himself.</p> +<p>"It was a near thing--a michty near thing," he admitted in the +square.</p> +<p>"They say," some other weaver would remark, "'at it was you Bell +liked best."</p> +<p>"I d'na kin," Sam'l would reply, "but there's nae doot the +lassie was fell fond o' me. Ou, a mere passin' fancy's ye micht +say."</p> +<br> +<br> +<a name="BARRIE_02"></a> +<center><b>JESS LEFT ALONE</b></center> +<br> +<center>From 'A Window in Thrums'</center> +<br> +<p>There may be a few who care to know how the lives of Jess and +Hendry ended. Leeby died in the back end of the year I have been +speaking of, and as I was snowed up in the school-house at the +time, I heard the news from Gavin Birse too late to attend her +funeral. She got her death on the commonty one day of sudden rain, +when she had run out to bring in her washing, for the terrible cold +she woke with next morning carried her off very quickly. Leeby did +not blame Jamie for not coming to her, nor did I, for I knew that +even in the presence of death the poor must drag their chains. He +never got Hendry's letter with the news, and we know now that he +was already in the hands of her who played the devil with his life. +Before the spring came he had been lost to Jess.</p> +<p>"Them 'at has got sae mony blessin's mair than the generality," +Hendry said to me one day, when Craigiebuckle had given me a lift +into Thrums, "has nae shame if they would pray aye for mair. The +Lord has gi'en this hoose sae muckle, 'at to pray for mair looks +like no bein' thankfu' for what we've got. Ay, but I canna help +prayin' to Him 'at in His great mercy he'll tak Jess afore me. Noo +'at Leeby's gone, an' Jamie never lets us hear frae him, I canna +gulp doon the thocht o' Jess bein' left alane."</p> +<p>This was a prayer that Hendry may be pardoned for having so +often in his heart, though God did not think fit to grant it. In +Thrums, when a weaver died, his women-folk had to take his seat at +the loom, and those who, by reason of infirmities, could not do so, +went to a place, the name of which, I thank God, I am not compelled +to write in this chapter. I could not, even at this day, have told +any episode in the life of Jess had it ended in the poor house.</p> +<p>Hendry would probably have recovered from the fever had not this +terrible dread darkened his intellect when he was still prostrate. +He was lying in the kitchen when I saw him last in life, and his +parting words must be sadder to the reader than they were to +me.</p> +<p>"Ay, richt ye are," he said, in a voice that had become a +child's; "I hae muckle, muckle to be thankfu' for, an' no the least +is 'at baith me an' Jess has aye belonged to a bural society. We +hae nae cause to be anxious aboot a' thing bein' dune respectable +aince we're gone. It was Jess 'at insisted on oor joinin': a' the +wisest things I ever did I was put up to by her."</p> +<p>I parted from Hendry, cheered by the doctor's report, but the +old weaver died a few days afterward. His end was mournful, yet I +can recall it now as the not unworthy close of a good man's life. +One night poor worn Jess had been helped ben into the room, Tibbie +Birse having undertaken to sit up with Hendry.</p> +<p>Jess slept for the first time for many days, and as the night +was dying Tibbie fell asleep too. Hendry had been better than +usual, lying quietly, Tibbie said, and the fever was gone. About +three o'clock Tibbie woke and rose to mend the fire. Then she saw +that Hendry was not in his bed.</p> +<p>Tibbie went ben the house in her stocking soles, but Jess heard +her.</p> +<p>"What is't, Tibbie?" she asked, anxiously.</p> +<p>"Ou, it's no naething," Tibbie said; "he's lyin' rale +quiet."</p> +<p>Then she went up to the attic. Hendry was not in the house.</p> +<p>She opened the door gently and stole out. It was not snowing, +but there had been a heavy fall two days before, and the night was +windy. A tearing gale had blown the upper part of the brae clear, +and from T'nowhead's fields the snow was rising like smoke. Tibbie +ran to the farm and woke up T'nowhead.</p> +<p>For an hour they looked in vain for Hendry. At last some one +asked who was working in Elshioner's shop all night. This was the +long earthen-floored room in which Hendry's loom stood with three +others.</p> +<p>"It'll be Sanders Whamond likely," T'nowhead said, and the other +men nodded.</p> +<p>But it happened that T'nowhead's Bell, who had flung on a +wrapper, and hastened across to sit with Jess, heard of the light +in Elshioner's shop.</p> +<p>"It's Hendry," she cried; and then every one moved toward the +workshop.</p> +<p>The light at the diminutive, darn-covered window was pale and +dim, but Bell, who was at the house first, could make the most of a +cruizey's glimmer.</p> +<p>"It's him," she said; and then, with swelling throat, she ran +back to Jess.</p> +<p>The door of the workshop was wide open, held against the wall by +the wind. T'nowhead and the others went in. The cruizey stood on +the little window. Hendry's back was to the door, and he was +leaning forward on the silent loom. He had been dead for some time, +but his fellow-workers saw that he must have weaved for nearly an +hour.</p> +<p>So it came about that for the last few months of her pilgrimage +Jess was left alone. Yet I may not say that she was alone. Jamie, +who should have been with her, was undergoing his own ordeal far +away; where, we did not now even know. But though the poorhouse +stands in Thrums, where all may see it, the neighbors did not think +only of themselves.</p> +<p>Than Tammas Haggart there can scarcely have been a poorer man, +but Tammas was the first to come forward with offer of help. To the +day of Jess's death he did not once fail to carry her water to her +in the morning, and the luxuriously living men of Thrums in these +present days of pumps at every corner, can hardly realize what that +meant. Often there were lines of people at the well by three +o'clock in the morning, and each had to wait his turn. Tammas +filled his own pitcher and pan, and then had to take his place at +the end of the line with Jess's pitcher and pan, to wait his turn +again. His own house was in the Tenements, far from the brae in +winter time, but he always said to Jess it was "naething ava."</p> +<p>Every Saturday old Robbie Angus sent a bag of sticks and +shavings from the sawmill by his little son Rob, who was afterward +to become a man for speaking about at nights. Of all the friends +that Jess and Hendry had, T'nowhead was the ablest to help, and the +sweetest memory I have of the farmer and his wife is the delicate +way they offered it. You who read will see Jess wince at the offer +of charity. But the poor have fine feelings beneath the grime, as +you will discover if you care to look for them; and when Jess said +she would bake if anyone would buy, you would wonder to hear how +many kindly folk came to her door for scones.</p> +<p>She had the house to herself at nights, but Tibbie Birse was +with her early in the morning, and other neighbors dropped in. Not +for long did she have to wait the summons to the better home.</p> +<p>"Na," she said to the minister, who has told me that he was a +better man from knowing her, "my thocht is no nane set on the +vanities o' the world noo. I kenna hoo I could ever hae haen sic an +ambeetion to hae thae stuff-bottomed chairs."</p> +<p>I have tried to keep away from Jamie, whom the neighbors +sometimes upbraided in her presence. It is of him you who read +would like to hear, and I cannot pretend that Jess did not sit at +her window looking for him.</p> +<p>"Even when she was bakin'," Tibbie told me, "she aye had an eye +on the brae. If Jamie had come at ony time when it was licht she +would hae seen 'im as sune as he turned the corner."</p> +<p>"If he ever comes back, the sacket" (rascal), T'nowhead said to +Jess, "we'll show 'im the door gey quick."</p> +<p>Jess just looked, and all the women knew how she would take +Jamie to her arms.</p> +<p>We did not know of the London woman then, and Jess never knew of +her. Jamie's mother never for an hour allowed that he had become +anything but the loving laddie of his youth.</p> +<p>"I ken 'im ower weel," she always said, "my ain Jamie."</p> +<p>Toward the end she was sure he was dead. I do not know when she +first made up her mind to this, nor whether it was not merely a +phrase for those who wanted to discuss him with her. I know that +she still sat at the window looking at the elbow of the brae.</p> +<p>The minister was with her when she died. She was in her chair, +and he asked her, as was his custom, if there was any particular +chapter which she would like him to read. Since her husband's death +she had always asked for the fourteenth of John, "Hendry's +chapter," as it is still called among a very few old people in +Thrums. This time she asked him to read the sixteenth chapter of +Genesis.</p> +<p>"When I came to the thirteenth verse," the minister told me, +"'And she called the name of the Lord that spake unto her, Thou God +seest me,' she covered her face with her two hands, and said, +'Joey's text, Joey's text. Oh, but I grudged ye sair, Joey.'"</p> +<p>"I shut the book," the minister said, "when I came to the end of +the chapter, and then I saw that she was dead. It is my belief that +her heart broke one-and-twenty years ago."</p> +<br> +<a name="BARRIE_03"></a> +<center><b>AFTER THE SERMON</b></center> +<br> +<center>From 'The Little Minister': by permission of the American +Publishers' Corporation.</center> +<br> +<p>One may gossip in a glen on Sabbaths, though not in a town, +without losing his character, and I used to await the return of my +neighbor, the farmer of Waster Lunny, and of Birse, the Glen +Quharity post, at the end of the school-house path. Waster Lunny +was a man whose care in his leisure hours was to keep from his wife +his great pride in her. His horse, Catlaw, on the other hand, he +told outright what he thought of it, praising it to its face and +blackguarding it as it deserved, and I have seen him, when +completely baffled by the brute, sit down before it on a stone and +thus harangue:--"You think you're clever, Catlaw, my lass, but +you're mista'en. You're a thrawn limmer, that's what you are. You +think you have blood in you. You ha'e blood! Gae awa, and dinna +blether. I tell you what, Catlaw, I met a man yestreen that kent +your mither, and he says she was a feikie,<a name= +"FNanchor3"></a><a href="#Footnote_3">[3]</a> fushionless besom. +What do you say to that?"</p> +<blockquote><a name="Footnote_3"></a><a href="#FNanchor3">[3]</a> +Feikie, over-particular.</blockquote> +<p>As for the post, I will say no more of him than that his bitter +topic was the unreasonableness of humanity, which treated him +graciously when he had a letter for it, but scowled at him when he +had none, "aye implying that I ha'e a letter, but keep it +back."</p> +<p>On the Sabbath evening after the riot, I stood at the usual +place awaiting my friends, and saw before they reached me that they +had something untoward to tell. The farmer, his wife, and three +children, holding each other's hands, stretched across the road. +Birse was a little behind, but a conversation was being kept up by +shouting. All were walking the Sabbath pace, and the family having +started half a minute in advance, the post had not yet made up on +them.</p> +<p>"It's sitting to snaw," Waster Lunny said, drawing near, and +just as I was to reply, "It is so," Silva slipped in the words +before me.</p> +<p>"You wasna at the kirk," was Elspeth's salutation. I had been at +the glen church, but did not contradict her, for it is Established, +and so neither here nor there. I was anxious, too, to know what +their long faces meant, and therefore asked at once,--"Was Mr. +Dishart on the riot?"</p> +<p>"Forenoon, ay; afternoon, no," replied Waster Lunny, walking +round his wife to get nearer me. "Dominie, a queery thing happened +in the kirk this day, sic as--"</p> +<p>"Waster Lunny," interrupted Elspeth sharply, "have you on your +Sabbath shoon or have you no on your Sabbath shoon?"</p> +<p>"Guid care you took I should ha'e the dagont oncanny things on," +retorted the farmer.</p> +<p>"Keep out o' the gutter, then," said Elspeth, "on the Lord's +day."</p> +<p>"Him," said her man, "that is forced by a foolish woman to wear +genteel 'lastic-sided boots canna forget them until he takes them +aff. Whaur's the extra reverence in wearing shoon twa sizes ower +sma'?"</p> +<p>"It mayna be mair reverent," suggested Birse, to whom Elspeth's +kitchen was a pleasant place, "but it's grand, and you canna expect +to be baith grand and comfortable."</p> +<p>I reminded them that they were speaking of Mr. Dishart.</p> +<p>"We was saying," began the post briskly, "that--"</p> +<p>"It was me that was saying it," said Waster Lunny. "So, +Dominie--"</p> +<p>"Haud your gabs, baith o' you," interrupted Elspeth. "You've +been roaring the story to one another till you're hoarse."</p> +<p>"In the forenoon," Waster Lunny went on determinedly, "Mr. +Dishart preached on the riot, and fine he was. Oh, dominie, you +should hae heard him ladling it on to Lang Tammas, no by name, but +in sic a way that there was no mistaking wha he was preaching at. +Sal! oh, losh! Tammas got it strong."</p> +<p>"But he's dull in the uptake," broke in the post, "by what I +expected. I spoke to him after the sermon, and I says, just to see +if he was properly humbled:--'Ay, Tammas,' I says, 'them that +discourse was preached against winna think themselves seven-feet +men for a while again.' 'Ay, Birse,' he answers, 'and glad I am to +hear you admit it, for he had you in his eye.' I was fair scunnered +at Tammas the day."</p> +<p>"Mr. Dishart was preaching at the whole clan-jamfray o' you," +said Elspeth.</p> +<p>"Maybe he was," said her husband, leering; "but you needna cast +it at us, for my certie, if the men got it frae him in the +forenoon, the women got it in the afternoon."</p> +<p>"He redd them up most michty," said the post. "Thae was his very +words or something like them:--'Adam,' says he, 'was an erring man, +but aside Eve he was respectable.'"</p> +<p>"Ay, but it wasna a' women he meant," Elspeth explained, "for +when he said that, he pointed his finger direct at T'nowhead's +lassie, and I hope it'll do her good."</p> +<p>"But, I wonder," I said, "that Mr. Dishart chose such a subject +to-day. I thought he would be on the riot at both services."</p> +<p>"You'll wonder mair," said Elspeth, "when you hear what happened +afore he began the afternoon sermon. But I canna get in a word wi' +that man o' mine."</p> +<p>"We've been speaking about it," said Birse, "ever since we left +the kirk door. Tod, we've been sawing it like seed a' alang the +glen."</p> +<p>"And we meant to tell you about it at once," said Waster Lunny; +"but there's aye so muckle to say about a minister. Dagont, to hae +ane keeps a body out o' languor. Aye, but this breaks the drum. +Dominie, either Mr. Dishart wasna weel or he was in the devil's +grip."</p> +<p>This startled me, for the farmer was looking serious.</p> +<p>"He was weel eneuch," said Birse, "for a heap o' fowk spiered at +Jean if he had ta'en his porridge as usual, and she admitted he +had. But the lassie was skeered hersel', and said it was a mercy +Mrs. Dishart wasna in the kirk."</p> +<p>"Why was she not there?" I asked anxiously.</p> +<p>"Ou, he winna let her out in sic weather."</p> +<p>"I wish you would tell me what happened," I said to Elspeth.</p> +<p>"So I will," she answered, "if Waster Lunny would haud his +wheest for a minute. You see the afternoon diet began in the +ordinary way, and a' was richt until we came to the sermon. 'You +will find my text,' he says, in his piercing voice, 'in the eighth +chapter of Ezra.'"</p> +<p>"And at thae words," said Waster Lunny, "my heart gae a loup, +for Ezra is an unca ill book to find; ay, and so is Ruth."</p> +<p>"I kent the books o' the Bible by heart," said Elspeth, +scornfully, "when I was a sax-year-auld."</p> +<p>"So did I," said Waster Lunny, "and I ken them yet, except when +I'm hurried. When Mr. Dishart gave out Ezra he a sort o' keeked +round the kirk to find out if he had puzzled onybody, and so there +was a kind o' a competition among the congregation wha would lay +hand on it first. That was what doited me. Ay, there was Ruth when +she wasna wanted, but Ezra, dagont, it looked as if Ezra had jumped +clean out o' the Bible."</p> +<p>"You wasna the only distressed crittur," said his wife. "I was +ashamed to see Eppie McLaren looking up the order o' the books at +the beginning o' the Bible."</p> +<p>"Tibbie Birse was even mair brazen," said the post, "for the sly +cuttie opened at Kings and pretended it was Ezra."</p> +<p>"None o' thae things would I do," said Waster Lunny, "and sal, I +dauredna, for Davit Lunan was glowering ower my shuther. Ay, you +may scowl at me, Elspeth Proctor, but as far back as I can mind +Ezra has done me. Mony a time afore I start for the kirk I take my +Bible to a quiet place and look Ezra up. In the very pew I says +canny to mysel', 'Ezra, Nehemiah, Esther, Job,' the which should be +a help, but the moment the minister gi'es out that awfu' book, away +goes Ezra like the Egyptian."</p> +<p>"And you after her," said Elspeth, "like the weavers that +wouldna fecht. You make a windmill of your Bible."</p> +<p>"Oh, I winna admit I'm beat. Never mind, there's queer things in +the world forby Ezra. How is cripples aye so puffed up mair than +other folk? How does flour-bread aye fall on the buttered +side?"</p> +<p>"I will mind," Elspeth said, "for I was terrified the minister +would admonish you frae the pulpit."</p> +<p>"He couldna hae done that, for was he no baffled to find Ezra +himsel'?"</p> +<p>"Him no find Ezra!" cried Elspeth. "I hae telled you a dozen +times he found it as easy as you could yoke a horse."</p> +<p>"The thing can be explained in no other way," said her husband +doggedly; "if he was weel and in sound mind."</p> +<p>"Maybe the dominie can clear it up," suggested the post, "him +being a scholar."</p> +<p>"Then tell me what happened," I asked.</p> +<p>"Man, hae we no telled you?" Birse said. "I thocht we had."</p> +<p>"It was a terrible scene," said Elspeth, giving her husband a +shove. "As I said, Mr. Dishart gave out Ezra eighth. Weel, I turned +it up in a jiffy, and syne looked cautiously to see how Eppie +McLaren was getting on. Just at that minute I heard a groan frae +the pulpit. It didna stop short o' a groan. Ay, you may be sure I +looked quick at the minister, and there I saw a sicht that would +hae made the grandest gape. His face was as white as a baker's, and +he had a sort of fallen against the back o' the pulpit, staring +demented-like at his open Bible."</p> +<p>"And I saw him," said Birse, "put up his hand atween him and the +Book, as if he thocht it was to jump at him."</p> +<p>"Twice," said Elspeth, "he tried to speak, and twice he let the +words fall."</p> +<p>"That," said Waster Lunny, "the whole congregation admits, but I +didna see it mysel', for a' this time you may picture me hunting +savage-like for Ezra. I thocht the minister was waiting till I +found it."</p> +<p>"Hendry Munn," said Birse, "stood upon one leg, wondering +whether he should run to the session-house for a glass of +water."</p> +<p>"But by that time," said Elspeth, "the fit had left Mr. Dishart, +or rather it had ta'en a new turn. He grew red, and it's gospel +that he stamped his foot."</p> +<p>"He had the face of one using bad words," said the post. "He +didna swear, of course, but that was the face he had on."</p> +<p>"I missed it," said Waster Lunny, "for I was in full cry after +Ezra, with the sweat running down my face."</p> +<p>"But the most astounding thing has yet to be telled," went on +Elspeth. "The minister shook himsel' like one wakening frae a nasty +dream, and he cries in a voice of thunder, just as if he was +shaking his fist at somebody--"</p> +<p>"He cries," Birse interposed, cleverly, "he cries, 'You will +find the text in Genesis, chapter three, verse six.'"</p> +<p>"Yes," said Elspeth, "first he gave out one text, and then he +gave out another, being the most amazing thing to my mind that ever +happened in the town of Thrums. What will our children's children +think o't? I wouldna ha'e missed it for a pound note."</p> +<p>"Nor me," said Waster Lunny, "though I only got the tail o't. +Dominie, no sooner had he said Genesis third and sixth, than I laid +my finger on Ezra. Was it no provoking? Onybody can turn up +Genesis, but it needs an able-bodied man to find Ezra."</p> +<p>"He preached on the Fall," Elspeth said, "for an hour and +twenty-five minutes, but powerful though he was I would rather he +had telled us what made him gie the go-by to Ezra."</p> +<p>"All I can say," said Waster Lunny, "is that I never heard him +mair awe-inspiring. Whaur has he got sic a knowledge of women? He +riddled them, he fair riddled them, till I was ashamed o' being +married."</p> +<p>"It's easy kent whaur he got his knowledge of women," Birse +explained, "it's a' in the original Hebrew. You can howk ony mortal +thing out o' the original Hebrew, the which all ministers hae at +their finger ends. What else makes them ken to jump a verse now and +then when giving out a psalm?"</p> +<p>"It wasna women like me he denounced," Elspeth insisted, "but +young lassies that leads men astray wi' their abominable wheedling +ways."</p> +<p>"Tod," said her husband, "if they try their hands on Mr. Dishart +they'll meet their match."</p> +<p>"They will," chuckled the post. "The Hebrew's a grand thing, +though teuch, I'm telled, michty teuch."</p> +<p>"His sublimest burst," Waster Lunny came back to tell me, "was +about the beauty o' the soul being everything and the beauty o' the +face no worth a snuff. What a scorn he has for bonny faces and toom +souls! I dinna deny but what a bonny face fell takes me, but Mr. +Dishart wouldna gi'e a blade o' grass for't. Ay, and I used to +think that in their foolishness about women there was dagont little +differ atween the unlearned and the highly edicated."</p> +<br> +<a name="BARRIE_04"></a> +<center><b>THE MUTUAL DISCOVERY</b></center> +<br> +<center>From 'The Little Minister': by permission of the American +Publishers' Corporation</center> +<br> +<p>A young man thinks that he alone of mortals is impervious to +love, and so the discovery that he is in it suddenly alters his +views of his own mechanism. It is thus not unlike a rap on the +funny-bone. Did Gavin make this discovery when the Egyptian left +him? Apparently he only came to the brink of it and stood blind. He +had driven her from him for ever, and his sense of loss was so +acute that his soul cried out for the cure rather than for the name +of the malady.</p> +<p>In time he would have realized what had happened, but time was +denied him, for just as he was starting for the mudhouse Babbie +saved his dignity by returning to him.... She looked up surprised, +or seemingly surprised, to find him still there.</p> +<p>"I thought you had gone away long ago," she said stiffly.</p> +<p>"Otherwise," asked Gavin the dejected, "you would not have came +back to the well?"</p> +<p>"Certainly not."</p> +<p>"I am very sorry. Had you waited another moment I should have +been gone."</p> +<p>This was said in apology, but the willful Egyptian chose to +change its meaning.</p> +<p>"You have no right to blame me for disturbing you," she declared +with warmth.</p> +<p>"I did not. I only--"</p> +<p>"You could have been a mile away by this time. Nanny wanted more +water."</p> +<p>Babbie scrutinized the minister sharply as she made this +statement. Surely her conscience troubled her, for on his not +answering immediately she said, "Do you presume to disbelieve me? +What could have made me return except to fill the pans again?"</p> +<p>"Nothing," Gavin admitted eagerly, "and I assure you---"</p> +<p>Babbie should have been grateful to his denseness, but it merely +set her mind at rest.</p> +<p>"Say anything against me you choose," she told him. "Say it as +brutally as you like, for I won't listen."</p> +<p>She stopped to hear his response to that, and she looked so cold +that it almost froze on Gavin's lips.</p> +<p>"I had no right," he said dolefully, "to speak to you as I +did."</p> +<p>"You had not," answered the proud Egyptian. She was looking away +from him to show that his repentance was not even interesting to +her. However, she had forgotten already not to listen....</p> +<p>She was very near him, and the tears had not yet dried on her +eyes. They were laughing eyes, eyes in distress, imploring eyes. +Her pale face, smiling, sad, dimpled yet entreating forgiveness, +was the one prominent thing in the world to him just then. He +wanted to kiss her. He would do it as soon as her eyes rested on +his, but she continued without regarding him.</p> +<p>"How mean that sounds! Oh, if I were a man I would wish to be +everything that I am not, and nothing that I am. I would scorn to +be a liar, I would choose to be open in all things, I would try to +fight the world honestly. But I am only a woman, and so--well, that +is the kind of man I would like to marry."</p> +<p>"A minister may be all these things," said Gavin +breathlessly.</p> +<p>"The man I could love," Babbie went on, not heeding him, almost +forgetting that he was there, "must not spend his days in idleness +as the men I know do."</p> +<p>"I do not."</p> +<p>"He must be brave, no mere worker among others, but a leader of +men."</p> +<p>"All ministers are."</p> +<p>"Who makes his influence felt."</p> +<p>"Assuredly."</p> +<p>"And takes the side of the weak against the strong, even though +the strong be in the right."</p> +<p>"Always my tendency."</p> +<p>"A man who has a mind of his own, and having once made it up +stands to it in defiance even of--"</p> +<p>"Of his session."</p> +<p>"Of the world. He must understand me."</p> +<p>"I do."</p> +<p>"And be my master."</p> +<p>"It is his lawful position in the house."</p> +<p>"He must not yield to my coaxing or tempers."</p> +<p>"It would be weakness."</p> +<p>"But compel me to do his bidding; yes, even thrash me if-"</p> +<p>"If you won't listen to reason. Babbie," cried Gavin, "I am that +man!"</p> +<p>Here the inventory abruptly ended, and these two people found +themselves staring at each other, as if of a sudden they had heard +something dreadful. I do not know how long they stood thus +motionless and horrified. I cannot tell even which stirred first. +All I know is that almost simultaneously they turned from each +other and hurried out of the wood in opposite directions.</p> +<br> +<a name="BARRIE_05"></a> +<center><b>LOST ILLUSIONS</b></center> +<br> +<center>From 'Sentimental Tommy'</center> +<br> +<p>To-morrow came, and with it two eager little figures rose and +gulped their porridge, and set off to see Thrums. They were dressed +in the black clothes Aaron Latta had bought for them in London, and +they had agreed just to walk, but when they reached the door and +saw the tree-tops of the Den they--they ran. Would you not like to +hold them back? It is a child's tragedy.</p> +<p>They went first into the Den, and the rocks were dripping wet, +all the trees save the firs were bare, and the mud round a tiny +spring pulled off one of Elspeth's boots.</p> +<p>"Tommy," she cried, quaking, "that narsty puddle can't not be +the Cuttle Well, can it?"</p> +<p>"No, it ain't," said Tommy, quickly, but he feared it was.</p> +<p>"It's c-c-colder here than London," Elspeth said, shivering, and +Tommy was shivering too, but he answered, "I'm--I'm--I'm warm."</p> +<p>The Den was strangely small, and soon they were on a shabby +brae, where women in short gowns came to their doors and men in +night-caps sat down on the shafts of their barrows to look at Jean +Myles's bairns.</p> +<p>"What does yer think?" Elspeth whispered, very doubtfully.</p> +<p>"They're beauties," Tommy answered, determinedly.</p> +<p>Presently Elspeth cried, "Oh, Tommy, what a ugly stair! Where is +the beauty stairs as it wore outside for show?"</p> +<p>This was one of them, and Tommy knew it. "Wait till you see the +west town end," he said, bravely: "it's grand." But when they were +in the west town end, and he had to admit it, "Wait till you see +the square," he said, and when they were in the square, "Wait," he +said, huskily, "till you see the town-house." Alas, this was the +town-house facing them, and when they knew it, he said, hurriedly, +"Wait till you see the Auld Licht kirk."</p> +<p>They stood long in front of the Auld Licht kirk, which he had +sworn was bigger and lovelier than St. Paul's, but--well, it is a +different style of architecture, and had Elspeth not been there +with tears in waiting, Tommy would have blubbered. "It's--it's +littler than I thought," he said, desperately, "but--the minister, +oh, what a wonderful big man he is!"</p> +<p>"Are you sure?" Elspeth squeaked.</p> +<p>"I swear he is."</p> +<p>The church door opened and a gentleman came out, a little man, +boyish in the back, with the eager face of those who live too +quickly. But it was not at him that Tommy pointed reassuringly; it +was at the monster church key, half of which protruded from his +tail pocket and waggled as he moved, like the hilt of a sword.</p> +<p>Speaking like an old residenter, Tommy explained that he had +brought his sister to see the church. "She's ta'en aback," he said, +picking out Scotch words carefully, "because it's littler than the +London kirks, but I telled her--I telled her that the preaching is +better."</p> +<p>This seemed to please the stranger, for he patted Tommy on the +head while inquiring, "How do you know that the preaching is +better?"</p> +<p>"Tell him, Elspeth," replied Tommy, modestly.</p> +<p>"There ain't nuthin' as Tommy don't know," Elspeth explained. +"He knows what the minister is like, too."</p> +<p>"He's a noble sight," said Tommy.</p> +<p>"He can get anything from God he likes," said Elspeth.</p> +<p>"He's a terrible big man," said Tommy.</p> +<p>This seemed to please the little gentleman less. "Big!" he +exclaimed, irritably; "why should he be big?"</p> +<p>"He is big," Elspeth almost screamed, for the minister was her +last hope.</p> +<p>"Nonsense!" said the little gentleman. "He is--well, I am the +minister."</p> +<p>"You!" roared Tommy, wrathfully.</p> +<p>"Oh, oh, oh!" sobbed Elspeth.</p> +<p>For a moment the Rev. Mr. Dishart looked as if he would like to +knock two little heads together, but he walked away without doing +it.</p> +<p>"Never mind," whispered Tommy hoarsely to Elspeth. "Never mind, +Elspeth, you have me yet."</p> +<p>This consolation seldom failed to gladden her, but her +disappointment was so sharp to-day that she would not even look +up.</p> +<p>"Come away to the cemetery, it's grand," he said; but still she +would not be comforted.</p> +<p>"And I'll let you hold my hand--as soon as we're past the +houses," he added.</p> +<p>"I'll let you hold it now," he said, eventually; but even then +Elspeth cried dismally, and her sobs were hurting him more than +her.</p> +<p>He knew all the ways of getting round Elspeth, and when next he +spoke it was with a sorrowful dignity. "I didna think," he said, +"as yer wanted me never to be able to speak again; no, I didna +think it, Elspeth."</p> +<p>She took her hands from her face and looked at him +inquiringly.</p> +<p>"One of the stories mamma telled me and Reddy," he said, "were a +man what saw such a beauty thing that he was struck dumb with +admiration. Struck dumb is never to be able to speak again, and I +wish I had been struck dumb when you wanted it."</p> +<p>"But I didn't want it!" Elspeth cried.</p> +<p>"If Thrums had been one little bit beautier than it is," he went +on, solemnly, "it would have struck me dumb. It would have hurt me +sore, but what about that, if it pleased you!"</p> +<p>Then did Elspeth see what a wicked girl she had been, and when +next the two were seen by the curious (it was on the cemetery +road), they were once more looking cheerful. At the smallest +provocation they exchanged notes of admiration, such as, "O Tommy, +what a bonny barrel!" or "O Elspeth, I tell yer that's a dike, and +there's just walls in London;" but sometimes Elspeth would stoop +hastily, pretending that she wanted to tie her boot-lace, but +really to brush away a tear, and there were moments when Tommy hung +very limp. Each was trying to deceive the other for the other's +sake, and one of them was never good at deception. They saw through +each other, yet kept up the chilly game, because they could think +of nothing better; and perhaps the game was worth playing, for love +invented it.</p> +<p>Scribner's Magazine. Copyrighted by Charles Scribner's Sons, New +York.</p> +<br> +<a name="BARRIE_06"></a> +<center><b>SINS OF CIRCUMSTANCE</b></center> +<br> +<center>From 'Sentimental Tommy'</center> +<br> +<p>With the darkness, too, crept into the Muckley certain devils in +the color of the night who spoke thickly and rolled braw lads in +the mire, and egged on friends to fight, and cast lewd thoughts +into the minds of the women. At first the men had been bashful +swains. To the women's "Gie me my faring, Jock," they had replied, +"Wait, Jean, till I'm fee'd," but by night most had got their +arles, with a dram above it, and he who could only guffaw at Jean a +few hours ago had her round the waist now, and still an arm free +for rough play with other kimmers. The Jeans were as boisterous as +the Jocks, giving them leer for leer, running from them with a +giggle, waiting to be caught and rudely kissed. Grand, patient, +long-suffering fellows these men were, up at five, summer and +winter, foddering their horses, maybe, hours before there would be +food for themselves, miserably paid, housed like cattle, and when +the rheumatism seized them, liable to be flung aside like a broken +graip. As hard was the life of the women: coarse food, chaff beds, +damp clothes their portion; their sweethearts in the service of +masters who were loth to fee a married man. Is it to be wondered +that these lads who could be faithful unto death drank soddenly on +their one free day; that these girls, starved of opportunities for +womanliness, of which they could make as much as the finest lady, +sometimes woke after a Muckley to wish that they might wake no +more?</p> +<p>Scribner's Magazine. Copyrighted by Charles Scribner's Sons, New +York.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BASTIAT"></a> +<h2>FRÉDÉRIC BASTIAT</h2> +<h3>(1801-1850)</h3> +<br> +<p class="par"><img src="images/letter-p.png" width="30%" alt= +""></p> +<p>olitical economy has been called the "dismal science"; and +probably the majority think of it as either merely a matter of +words and phrases, or as something too abstruse for the common mind +to comprehend. It was the distinction of Bastiat that he was able +to write economic tracts in such a language that he that ran might +read, and to clothe the apparently dry bones with such integuments +as manifested vitality. Under his pen, questions of finance, of +tax, of exchange, became questions which concern the lives of +individual men and women, with sentiments, hopes, and +aspirations.</p> +<p class="rgt"><img src="images/image-175.png" width="45%" alt= +""><br> +<b>Frédéric Bastiat.</b></p> +<p>He was born at Bayonne in France, June 19th, 1801. At nine years +of age he was left an orphan, but he was cared for by his +grandfather and aunt. He received his schooling at the college of +St. Sever and at Sorèze, where he was noted as a diligent +student. When about twenty years of age he was taken into the +commercial house of his uncle at Bayonne. His leisure was employed +in cultivating art and literature, and he became accomplished in +languages and in instrumental and vocal music. He was early +interested in political and social economy through the writings of +Adam Smith, J.B. Say, Comte, and others; and having inherited +considerable landed property at Mugron on the death of his +grandfather in 1827, he undertook the personal charge of it, at the +same time continuing his economic studies. His experiment in +farming did not prove successful; but he rapidly developed clear +ideas upon economical problems, being much assisted in their +consideration by frequent conferences with his neighbor, M. Felix +Coudroy. These two worked much together, and cherished a close +sympathy in thought and heart.</p> +<p>The bourgeois revolution of 1830 was welcomed enthusiastically +by Bastiat. It was a revolution of prosperous and well-instructed +men, willing to make sacrifices to attain an orderly and systematic +method of government. To him the form of the administration did not +greatly matter: the right to vote taxes was the right which +governed the governors. "There is always a tendency on the part of +governments to extend their powers," he said; "the administration +therefore must be under constant surveillance." His motto was "Foi +systematiqtie à la libre activité de I'individu; +defiance systematique vis-à-vis de l'État +conçu abstraitement,--c'est-à-dire, defiance +parfaitement pure de toute hostilité de parti." [Systematic +faith in the free activity of the individual; systematic distrust +of the State conceived abstractly,--that is, a distrust entirely +free from prejudice.]</p> +<p>His work with his pen seems to have been begun about 1830, and +from the first was concerned with matters of economy and +government. A year later he was chosen to local office, and every +opportunity which offered was seized upon to bring before the +common people the true milk of the economic word, as he conceived +it. The germ of his theory of values appeared in a pamphlet of +1834, and the line of his development was a steady one; his leading +principles being the importance of restricting the functions of +government to the maintenance of order, and of removing all +shackles from the freedom of production and exchange. Through +subscription to an English periodical he became familiar with +Cobden and the Anti-Corn-Law League, and his subsequent intimacy +with Cobden contributed much to broaden his horizon. In 1844-5 +appeared his brilliant 'Sophismes économiques', which in +their kind have never been equaled; and his reputation rapidly +expanded. He enthusiastically espoused the cause of Free Trade, and +issued a work entitled 'Cobden et la Ligue, ou l'Agitation anglaise +pour la liberté des échanges' (Cobden and the League, +or the English Agitation for Liberty of Exchange), which attracted +great attention, and won for its author the title of corresponding +member of the Institute. A movement for organization in favor of +tariff reform was begun, of which he naturally became a leader; and +feeling that Paris was the centre from which influence should flow, +to Paris he removed. M. de Molinari gives an account of his +debut:--"We still seem to see him making his first round among the +journals which had shown themselves favorable to cause of the +freedom of commerce. He had not yet had time to call upon a +Parisian tailor or hatter, and in truth it had not occurred to him +to do so. With his long hair and his small hat, his large surtout +and his family umbrella, he would naturally be taken for a +reputable countryman looking at the sights of the metropolis. But +his countryman's-face was at the same time roguish and spirituelle, +his large black eyes were bright and luminous, and his forehead, of +medium breadth but squarely formed, bore the imprint of thought. At +a glance one could see that he was a peasant of the country of +Montaigne, and in listening to him one realized that here was a +disciple of Franklin."</p> +<p>He plunged at once into work, and his activity was prodigious. +He contributed to numerous journals, maintained an active +correspondence with Cobden, kept up communications with +organizations throughout the country, and was always ready to meet +his opponents in debate.</p> +<p>The Republic of 1848 was accepted in good faith; but he was +strongly impressed by the extravagant schemes which accompanied the +Republican movement, as well as by the thirst for peace which +animated multitudes. The Provisional government had made solemn +promises: it must pile on taxes to enable it to keep its promises. +"Poor people! How they have deceived themselves! It would have been +so easy and so just to have eased matters by reducing the taxes; +instead, this is to be done by profusion of expenditure, and people +do not see that all this machinery amounts to taking away ten in +order to return eight, <i>without counting the fact that liberty +will succumb under the operation</i>." He tried to stem the tide of +extravagance; he published a journal, the République +Française, for the express purpose of promulgating his +views; he entered the Constituent and then the Legislative +Assembly, as a member for the department of Landes, and spoke +eloquently from the tribune. He was a constitutional "Mugwump": he +cared for neither parties nor men, but for ideas. He was equally +opposed to the domination of arbitrary power and to the tyranny of +Socialism. He voted with the right against the left on extravagant +Utopian schemes, and with the left against the right when he felt +that the legitimate complaints of the poor and suffering were +unheeded.</p> +<p>In the midst of his activity he was overcome by a trouble in the +throat, which induced his physicians to send him to Italy. The +effort for relief was a vain one, however, and he died in Rome +December 24th, 1850. His complete works, mostly composed of +occasional essays, were printed in 1855. Besides those mentioned, +the most important are 'Propriété et Loi' (Property +and Law), 'Justice et Fraternité,' 'Protectionisme et +Communisme,' and 'Harmonies économiques.' The 'Harmonies +économiques' and 'Sophismes économiques' have been +translated and published in English.</p> +<br> +<a name="BASTIAT_01"></a> +<center><b>PETITION</b></center> +<br> +<center>OF THE MANUFACTURERS OF CANDLES, WAX-LIGHTS, LAMPS, +CANDLE-STICKS, STREET LAMPS, SNUFFERS, EXTINGUISHERS, AND OF THE +PRODUCERS OF OIL, TALLOW, ROSIN, ALCOHOL, AND GENERALLY OF +EVERYTHING CONNECTED WITH LIGHTING.</center> +<br> +<center><i>To Messieurs the Members of the Chamber of +Deputies:</i></center> +<br> +<p><i>Gentlemen</i>:--You are on the right road. You reject +abstract theories, and have little consideration for cheapness and +plenty. Your chief care is the interest of the producer. You desire +to emancipate him from external competition, and reserve the +<i>national market</i> for <i>national industry</i>.</p> +<p>We are about to offer you an admirable opportunity of applying +your--what shall we call it? your theory? no: nothing is more +deceptive than theory. Your doctrine? your system? your principle? +but you dislike doctrines, you abhor systems, and as for +principles, you deny that there are any in social economy. We shall +say, then, your practice, your practice without theory and without +principle.</p> +<p>We are suffering from the intolerable competition of a foreign +rival, placed, it would seem, in a condition so far superior to +ours for the production of light, that he absolutely +<i>inundates</i> our <i>national market</i> with it at a price +fabulously reduced. The moment he shows himself, our trade leaves +us--all consumers apply to him; and a branch of native industry, +having countless ramifications, is all at once rendered completely +stagnant. This rival, who is no other than the Sun, wages war to +the knife against us, and we suspect that he has been raised up by +<i>perfidious Albion</i> (good policy as times go); inasmuch as he +displays towards that haughty island a circumspection with which he +dispenses in our case.</p> +<p>What we pray for is, that it may please you to pass a law +ordering the shutting up of all windows, skylights, dormer windows, +outside and inside shutters, curtains, blinds, bull's-eyes; in a +word, of all openings, holes, chinks, clefts, and fissures, by or +through which the light of the sun has been in use to enter houses, +to the prejudice of the meritorious manufactures with which we +flatter ourselves we have accommodated our country,--a country +which, in gratitude, ought not to abandon us now to a strife so +unequal.</p> +<p>We trust, gentlemen, that you will not regard this our request +as a satire, or refuse it without at least previously hearing the +reasons which we have to urge in its support.</p> +<p>And first, if you shut up as much as possible all access to +natural light, and create a demand for artificial light, which of +our French manufactures will not be encouraged by it?</p> +<p>If more tallow is consumed, then there must be more oxen and +sheep; and consequently, we shall behold the multiplication of +artificial meadows, meat, wool, hides, and above all manure, which +is the basis and foundation of all agricultural wealth.</p> +<p>If more oil is consumed, then we shall have an extended +cultivation of the poppy, of the olive, and of rape. These rich and +exhausting plants will come at the right time to enable us to avail +ourselves of the increased fertility which the rearing of +additional cattle will impart to our lands.</p> +<p>Our heaths will be covered with resinous trees. Numerous swarms +of bees will, on the mountains, gather perfumed treasures, now +wasting their fragrance on the desert air, like the flowers from +which they emanate. No branch of agriculture but will then exhibit +a cheering development.</p> +<p>The same remark applies to navigation. Thousands of vessels will +proceed to the whale fishery; and in a short time we shall possess +a navy capable of maintaining the honor of France, and gratifying +the patriotic aspirations of your petitioners, the under-signed +candle-makers and others.</p> +<p>But what shall we say of the manufacture of <i>articles de +Paris?</i> Henceforth you will behold gildings, bronzes, crystals, +in candlesticks, in lamps, in lustres, in candelabra, shining forth +in spacious warerooms, compared with which those of the present day +can be regarded but as mere shops.</p> +<p>No poor <i>résinier</i> from his heights on the +sea-coast, no coal-miner from the depth of his sable gallery, but +will rejoice in higher wages and increased prosperity.</p> +<p>Only have the goodness to reflect, gentlemen, and you will be +convinced that there is perhaps no Frenchman, from the wealthy +coal-master to the humblest vender of lucifer matches, whose lot +will not be ameliorated by the success of this our petition.</p> +<p>We foresee your objections, gentlemen, but we know that you can +oppose to us none but such as you have picked up from the effete +works of the partisans of Free Trade. We defy you to utter a single +word against us which will not instantly rebound against yourselves +and your entire policy.</p> +<p>You will tell us that if we gain by the protection which we +seek, the country will lose by it, because the consumer must bear +the loss.</p> +<p>We answer:--</p> +<p>You have ceased to have any right to invoke the interest of the +consumer; for whenever his interest is found opposed to that of the +producer, you sacrifice the former. You have done so for the +purpose of <i>encouraging labor and increasing employment</i>. For +the same reason you should do so again.</p> +<p>You have yourself refuted this objection. When you are told that +the consumer is interested in the free importation of iron, coal, +corn, textile fabrics--yes, you reply, but the producer is +interested in their exclusion. Well, be it so;--if consumers are +interested in the free admission of natural light, the producers of +artificial light are equally interested in its prohibition.</p> +<p>But again, you may say that the producer and consumer are +identical. If the manufacturer gain by protection, he will make the +agriculturist also a gainer; and if agriculture prosper, it will +open a vent to manufactures. Very well: if you confer upon us the +monopoly of furnishing light during the day,--first of all, we +shall purchase quantities of tallow, coals, oils, resinous +substances, wax, alcohol--besides silver, iron, bronze, crystal--to +carry on our manufactures; and then we, and those who furnish us +with such commodities, having become rich, will consume a great +deal, and impart prosperity to all the other branches of our +national industry.</p> +<p>If you urge that the light of the sun is a gratuitous gift of +nature, and that to reject such gifts is to reject wealth itself +under pretense of encouraging the means of acquiring it, we would +caution you against giving a death-blow to your own policy. +Remember that hitherto you have always repelled foreign products, +<i>because</i> they approximate more nearly than home products to +the character of gratuitous gifts. To comply with the exactions of +other monopolists, you have only <i>half a motive</i>; and to +repulse us simply because we stand on a stronger vantage-ground +than others would be to adopt the equation, +X+=--; in other words, +it would be to heap <i>absurdity</i> upon <i>absurdity</i>.</p> +<p>Nature and human labor co-operate in various proportions +(depending on countries and climates) in the production of +commodities. The part which nature executes is always gratuitous; +it is the part executed by human labor which constitutes value, and +is paid for.</p> +<p>If a Lisbon orange sells for half the price of a Paris orange, +it is because natural and consequently gratuitous heat does for the +one what artificial and therefore expensive heat must do for the +other.</p> +<p>When an orange comes to us from Portugal, we may conclude that +it is furnished in part gratuitously, in part for an onerous +consideration; in other words, it comes to us at <i>half-price</i> +as compared with those of Paris.</p> +<p>Now, it is precisely the <i>gratuitous half</i> (pardon the +word) which we contend should be excluded. You say, How can natural +labor sustain competition with foreign labor, when the former has +all the work to do, and the latter only does one-half, the sun +supplying the remainder? But if this <i>half</i>, being +<i>gratuitous</i>, determines you to exclude competition, how +should the <i>whole</i>, being <i>gratuitous</i>, induce you to +admit competition? If you were consistent, you would, while +excluding as hurtful to native industry what is half gratuitous, +exclude <i>a fortiori</i> and with double zeal that which is +altogether gratuitous.</p> +<p>Once more, when products such as coal, iron, corn, or textile +fabrics are sent us from abroad, and we can acquire them with less +labor than if we made them ourselves, the difference is a free gift +conferred upon us. The gift is more or less considerable in +proportion as the difference is more or less great. It amounts to a +quarter, a half, or three-quarters of the value of the product, +when the foreigner only asks us for three-fourths, a half, or a +quarter of the price we should otherwise pay. It is as perfect and +complete as it can be, when the donor (like the sun in furnishing +us with light) asks us for nothing. The question, and we ask it +formally, is this, Do you desire for our country the benefit of +gratuitous consumption, or the pretended advantages of onerous +production? Make your choice, but be logical; for as long as you +exclude, as you do, coal, iron, corn, foreign fabrics, <i>in +proportion</i> as their price approximates to <i>zero</i>, what +inconsistency would it be to admit the light of the sun, the price +of which is already at <i>zero</i> during the entire day!</p> +<br> +<a name="BASTIAT_02"></a> +<center><b>STULTA AND PUERA</b></center> +<br> +<p>There were, no matter where, two towns called Fooltown and +Babytown. They completed at great cost a highway from the one town +to the other. When this was done, Fooltown said to herself, "See +how Babytown inundates us with her products; we must see to it." In +consequence, they created and paid a body of <i>obstructives</i>, +so called because their business was to place <i>obstacles</i> in +the way of traffic coming from Babytown. Soon afterwards Babytown +did the same.</p> +<p>At the end of some centuries, knowledge having in the interim +made great progress, the common sense of Babytown enabled her to +see that such reciprocal obstacles could only be reciprocally +hurtful. She therefore sent a diplomatist to Fooltown, who, laying +aside official phraseology, spoke to this effect:</p> +<p>"We have made a highway, and now we throw obstacles in the way +of using it. This is absurd. It would have been better to have left +things as they were. We should not, in that case, have had to pay +for making the road in the first place, nor afterwards have +incurred the expense of maintaining <i>obstructives</i>. In the +name of Babytown, I come to propose to you, not to give up opposing +each other all at once,--that would be to act upon a principle, and +we despise principles as much as you do,--but to lessen somewhat +the present obstacles, taking care to estimate equitably the +respective <i>sacrifices</i> we make for this purpose."</p> +<p>So spoke the diplomatist. Fooltown asked for time to consider +the proposal, and proceeded to consult in succession her +manufacturers and agriculturists. At length, after the lapse of +some years, she declared that the negotiations were broken off. On +receiving this intimation, the inhabitants of Babytown held a +meeting. An old gentleman (they always suspected he had been +secretly bought by Fooltown) rose and said:--"The obstacles created +by Fooltown injure our sales, which is a misfortune. Those which we +have ourselves created injure our purchases, which is another +misfortune. With reference to the first, we are powerless; but the +second rests with ourselves. Let us at least get quit of one, since +we cannot rid ourselves of both evils. Let us suppress our +<i>obstructives</i> without requiring Fooltown to do the same. Some +day, no doubt, she will come to know her own interests better."</p> +<p>A second counselor, a practical, matter-of-fact man, guiltless +of any acquaintance with principles, and brought up in the ways of +his forefathers, replied--</p> +<p>"Don't listen to that Utopian dreamer, that theorist, that +innovator, that economist; that <i>Stultomaniac</i>. We shall all +be undone if the stoppages of the road are not equalized, weighed, +and balanced between Fooltown and Babytown. There would be greater +difficulty in <i>going</i> than in <i>coming</i>, in +<i>exporting</i> than in <i>importing</i>. We should find ourselves +in the same condition of inferiority relatively to Fooltown, as +Havre, Nantes, Bordeaux, Lisbon, London, Hamburg, and New Orleans, +are with relation to the towns situated at the sources of the +Seine, the Loire, the Garonne, the Tagus, the Thames, the Elbe, and +the Mississippi; for it is more difficult for a ship to ascend than +to descend a river. [<i>A Voice</i>--'Towns at the +<i>embouchures</i> of rivers prosper more than towns at their +source.'] This is impossible. [<i>Same Voice</i>--'But it is so.'] +Well, if it be so, they have prospered <i>contrary to +rules</i>."</p> +<p>Reasoning so conclusive convinced the assembly, and the orator +followed up his victory by talking largely of national +independence, national honor, national dignity, national labor, +inundation of products, tributes, murderous competition. In short, +he carried the vote in favor of the maintenance of obstacles; and +if you are at all curious on the subject, I can point out to you +countries, where you will see with your own eyes Roadmakers and +Obstructives working together on the most friendly terms possible, +under the orders of the same legislative assembly, and at the +expense of the same taxpayers, the one set endeavoring to clear the +road, and the other set doing their utmost to render it +impassable.</p> +<br> +<a name="BASTIAT_03"></a> +<center><b>INAPPLICABLE TERMS</b></center> +<br> +<center>From 'Economic Sophisms'</center> +<br> +<p>Let us give up ... the puerility of applying to industrial +competition phrases applicable to war,--a way of speaking which is +only specious when applied to competition between two rival trades. +The moment we come to take into account the effect produced on the +general prosperity, the analogy disappears.</p> +<p>In a battle, every one who is killed diminishes by so much the +strength of the army. In industry, a workshop is shut up only when +what it produced is obtained by the public from another source and +in <i>greater abundance</i>. Figure a state of things where for one +man killed on the spot two should rise up full of life and vigor. +Were such a state of things possible, war would no longer merit its +name.</p> +<p>This, however, is the distinctive character of what is so +absurdly called <i>industrial war</i>.</p> +<p>Let the Belgians and the English lower the price of their iron +ever so much; let them, if they will, send it to us for nothing: +this might extinguish some of our blast-furnaces; but immediately, +and as a <i>necessary</i> consequence of this very cheapness, there +would rise up a thousand other branches of industry more profitable +than the one which had been superseded.</p> +<p>We arrive, then, at the conclusion that domination by labor is +impossible, and a contradiction in terms, seeing that all +superiority which manifests itself among a people means cheapness, +and tends only to impart force to all other nations. Let us banish, +then, from political economy all terms borrowed from the military +vocabulary: <i>to fight with equal weapons, to conquer, to crush, +to stifle, to be beaten, invasion, tribute</i>, etc. What do such +phrases mean? Squeeze them, and you obtain nothing. Yes, you do +obtain something; for from such words proceed absurd errors, and +fatal and pestilent prejudices. Such phrases tend to arrest the +fusion of nations, are inimical to their peaceful, universal, and +indissoluble alliance, and retard the progress of the human +race.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BAUDELAIRE"></a> +<h2>CHARLES BAUDELAIRE</h2> +<h3>(1821-1867)</h3> +<center>BY GRACE KING</center> +<br> +<p class="par"><img src="images/letter-c.png" width="30%" alt= +""></p> +<p>harles Baudelaire was born in Paris in 1821; he died there in +1867. Between these dates lies the evolution of one of the most +striking personalities in French literature, and the development of +an influence which affected not only the literature of the poet's +own country, but that of all Europe and America. The genuineness of +both personality and influence was one of the first critical issues +raised after Baudelaire's advent into literature; it is still one +of the main issues in all critical consideration of him. A question +which involves by implication the whole relation of poetry, and of +art as such, to life, is obviously one that furnishes more than +literary issues, and engages other than literary interests. And +thus, by easy and natural corollaries, Baudelaire has been made a +subject of appeal not only to judgment, but even to conscience. At +first sight, therefore, he appears surrounded either by an +intricate moral maze, or by a no less troublesome confusion of +contradictory theories from opposing camps rather than schools of +criticism. But no author--no dead author--is more accessible, or +more communicable in his way; his poems, his theories, and a goodly +portion of his life, lie at the disposition of any reader who cares +to know him.</p> +<p class="rgt"><img src="images/image-185.png" width="45%" alt= +""><br> +<b>Charles Baudelaire.</b></p> +<p>The Baudelaire legend, as it is called by French critics, is one +of the blooms of that romantic period of French literature which is +presided over by the genius of Théophile Gautier. Indeed; it +is against the golden background of Gautier's imagination that the +picture of the youthful poet is best preserved for us, appearing in +all the delicate and illusive radiance of the youth and beauty of +legendary saints on the gilded canvases of mediaeval art. The +radiant youth and beauty may be no more truthful to nature than the +gilded background, but the fact of the impression sought to be +conveyed is not on that account to be disbelieved.</p> +<p>Baudelaire, Gautier writes, was born in the Rue Hautefeuille, in +one of those old houses with a pepper-pot turret at the corner +which have disappeared from the city under the advancing +improvement of straight lines and clear openings. His father, a +gentleman of learning, retained all the eighteenth-century courtesy +and distinction of manner, which, like the pepper-pot turret, has +also disappeared under the advance of Republican enlightenment. An +absent-minded, reserved child, Baudelaire attracted no especial +attention during his school days. When they were over, his +predilection for a literary vocation became known. From this his +parents sought to divert him by sending him to travel. He voyaged +through the Indian Ocean, visiting the great islands: Madagascar, +Ceylon, Mauritius, Bourbon. Had there been a chance for +irresolution in the mind of the youth, this voyage destroyed it +forever. His imagination, essentially exotic, succumbed to the +passionate charm of a new, strange, and splendidly glowing form of +nature; the stars, the skies, the gigantic vegetation, the color, +the perfumes, the dark-skinned figures in white draperies, formed +for him at that time a heaven, for which his senses unceasingly +yearned afterwards amid the charms and enchantments of +civilization, in the world's capital of pleasure and luxury. +Returning to Paris, of age and master of his fortune, he +established himself in his independence, openly adopting his chosen +career.</p> +<p>He and Théophile Gautier met for the first time in 1849, +in the Hotel Pimodau, where were held the meetings of the Hashish +Club. Here in the great Louis XIV. saloon, with its wood-work +relieved with dull gold; its corbeled ceiling, painted after the +manner of Lesueur and Poussin, with satyrs pursuing nymphs through +reeds and foliage; its great red and white spotted marble mantel, +with gilded elephant harnessed like the elephant of Porus in +Lebrun's picture, bearing an enameled clock with blue ciphers; its +antique chairs and sofas, covered with faded tapestry representing +hunting scenes, holding the reclining figures of the members of the +club; women celebrated in the world of beauty, men in the world of +letters, meeting not only for the enjoyment of the artificial +ecstasies of the drug, but to talk of art, literature, and love, as +in the days of the Decameron--here Baudelaire made what might be +called his historic impression upon literature. He was at that time +twenty-eight years of age; and even in that assemblage, in those +surroundings, his personality was striking. His black hair, worn +close to the head, grew in regular scallops over a forehead of +dazzling whiteness; his eyes, the color of Spanish tobacco, were +spiritual, deep, penetrating, perhaps too insistently so, in +expression; the mobile sinuous mouth had the ironical voluptuous +lips that Leonardo da Vinci loved to paint; the nose was delicate +and sensitive, with quivering nostrils; a deep dimple accentuated +the chin; the bluish-black tint of the shaven skin, softened with +rice-powder, contrasted with the clear rose and white of the upper +part of his cheeks. Always dressed with meticulous neatness and +simplicity, following English rather than French taste; in manner +punctiliously observant of the strictest conventionality, +scrupulously, even excessively polite; in talk measuring his +phrases, using only the most select terms, and pronouncing certain +words as if the sound itself possessed a certain subtle, mystical +value,--throwing his voice into capitals and italics;--in contrast +with the dress and manners about him, he, according to Gautier, +looked like a dandy who had strayed into Bohemia.</p> +<p>The contrast was no less violent between Baudelaire's form and +the substance of his conversation. With a simple, natural, and +perfectly impartial manner, as if he were conveying commonplace +information about every-day life, he would advance some axiom +monstrously Satanic, or sustain, with the utmost grace and +coolness, some mathematical extravagance in the way of a theory. +And no one could so inflexibly push a paradox to the uttermost +limits, regardless of consequences to received notions of morality +or religion; always employing the most rigorous methods of logic +and reason. His wit was found to lie neither in words nor thoughts, +but in the peculiar standpoint from which he regarded things, a +standpoint which altered their outlines,--like those of objects +looked down upon from a bird's flight, or looked up to on a +ceiling. In this way, to continue the exposition of Gautier, +Baudelaire saw relations inappreciable to others, whose logical +bizarrerie was startling.</p> +<p>His first productions were critical articles for the Parisian +journals; articles that at the time passed unperceived, but which +to-day furnish perhaps the best evidences of that keen artistic +insight and foresight of the poet, which was at once his greatest +good and evil genius. In 1856 appeared his translation of the works +of Edgar Allan Poe; a translation which may be said to have +naturalized Poe in French literature, where he has played a role +curiously like that of Baudelaire in Poe's native literature. The +natural predisposition of Baudelaire, which fitted him to be the +French interpreter of Poe, rendered him also peculiarly sensitive +to Poe's mysteriously subtle yet rankly vigorous charms; and he +showed himself as sensitively responsive to these as he had been to +the exotic charms of the East. The influence upon his intellectual +development was decisive and final. His indebtedness to Poe, or it +might better be said, his identification with Poe, is visible not +only in his paradoxical manias, but in his poetry, and in his +theories of art and poetry set forth in his various essays and +fugitive prose expressions, and notably in his introduction to his +translations of the American author's works.</p> +<p>In 1857 appeared the "Fleurs du Mal" (Flowers of Evil), the +volume of poems upon which Baudelaire's fame as a poet is founded. +It was the result of his thirty years' devotion to the study of his +art and meditation upon it. Six of the poems were suppressed by the +censor of the Second Empire. This action called out, in form of +protest, that fine appreciation and defense of Baudelaire's genius +and best defense of his methods, by four of the foremost critics +and keenest artists in poetry of Paris, which form, with the +letters from Sainte-Beuve, de Custine, and Deschamps, a precious +appendix to the third edition of the poems.</p> +<p>The name 'Flowers of Evil' is a sufficient indication of the +intentions and aim of the author. Their companions in the volume +are: 'Spleen and Ideal,' 'Parisian Pictures,' 'Wine,' 'Revolt,' +'Death.' The simplest description of them is that they are +indescribable. They must not only be read, they must be studied +repeatedly to be understood as they deserve. The paradox of their +most exquisite art, and their at times most revolting revelations +of the degradations and perversities of humanity, can be accepted +with full appreciation of the author's meaning only by granting the +same paradox to his genuine nature; by crediting him with being not +only an ardent idealist of art for art's sake, but an idealist of +humanity for humanity's sake; one to whom humanity, even in its +lowest degradations and vilest perversions, is sublimely +sacred;--one to whom life offered but one tragedy, that of human +souls flying like Cain from a guilt-stricken paradise, but pursued +by the remorse of innocence, and scourged by the consciousness of +their own infinitude.</p> +<p>But the poet's own words are the best explanation of his aim and +intention:--</p> +<blockquote>"Poetry, though one delve ever so little into his own +self, interrogate his own soul, recall his memories of enthusiasms, +has no other end than itself; it cannot have any other aim, and no +poem will be so great, so noble, so truly worthy of the name of +poem, as that which shall have been written solely for the pleasure +of writing a poem. I do not wish to say that poetry should not +ennoble manners--that its final result should not be to raise man +above vulgar interests. That would be an evident absurdity. I say +that if the poet has pursued a moral end, he has diminished his +poetic force, and it would not be imprudent to wager that his work +would be bad. Poetry cannot, under penalty of death or forfeiture, +assimilate itself to science or morality. It has not Truth for +object, it has only itself. Truth's modes of demonstration are +different and elsewhere. Truth has nothing to do with ballads; all +that constitutes the charm, the irresistible grace of a ballad, +would strip Truth of its authority and power. Cold, calm, +impassive, the demonstrative temperament rejects the diamonds and +flowers of the muse; it is, therefore, the absolute inverse of the +poetic temperament. Pure Intellect aims at Truth, Taste shows us +Beauty, and the Moral Sense teaches us Duty. It is true that the +middle term has intimate connection with the two extremes, and only +separates itself from Moral Sense by a difference so slight that +Aristotle did not hesitate to class some of its delicate operations +amongst the virtues. And accordingly what, above all, exasperates +the man of taste is the spectacle of vice, is its deformity, its +disproportions. Vice threatens the just and true, and revolts +intellect and conscience; but as an outrage upon harmony, as +dissonance, it would particularly wound certain poetic minds, and I +do not think it would be scandal to consider all infractions of +moral beauty as a species of sin against rhythm and universal +prosody.<br> +<br> +"It is this admirable, this immortal instinct of the Beautiful +which makes us consider the earth and its spectacle as a sketch, as +a correspondent of Heaven. The insatiable thirst for all that is +beyond that which life veils is the most living proof of our +immortality. It is at once by poetry and across it, across and +through music, that the soul gets a glimpse of the splendors that +lie beyond the tomb. And when an exquisite poem causes tears to +rise in the eye, these tears are not the proof of excessive +enjoyment, but rather the testimony of a moved melancholy, of a +postulation of the nerves, of a nature exiled in the imperfect, +which wishes to take immediate possession, even on earth, of a +revealed paradise.<br> +<br> +"Thus the principle of poetry is strictly and simply human +aspiration toward superior beauty; and the manifestation of this +principle is enthusiasm and uplifting of the soul,--enthusiasm +entirely independent of passion,--which is the intoxication of +heart, and of truth which is the food of reason. For passion is a +natural thing, even too natural not to introduce a wounding, +discordant tone into the domain of pure beauty; too familiar, too +violent, not to shock the pure Desires, the gracious Melancholies, +and the noble Despairs which inhabit the supernatural regions of +poetry."</blockquote> +<p>Baudelaire saw himself as the poet of a decadent epoch, an epoch +in which art had arrived at the over-ripened maturity of an aging +civilization; a glowing, savorous, fragrant over-ripeness, that is +already softening into decomposition. And to be the fitting poet of +such an epoch, he modeled his style on that of the poets of the +Latin decadence; for, as he expressed it for himself and for the +modern school of "decadents" in French poetry founded upon his +name:--</p> +<blockquote>"Does it not seem to the reader, as to me, that the +language of the last Latin decadence--that supreme sigh of a robust +person already transformed and prepared for spiritual life--is +singularly fitted to express passion as it is understood and felt +by the modern world? Mysticism is the other end of the magnet of +which Catullus and his band, brutal and purely epidermic poets, +knew only the sensual pole. In this wonderful language, solecisms +and barbarisms seem to express the forced carelessness of a passion +which forgets itself, and mocks at rules. The words, used in a +novel sense, reveal the charming awkwardness of a barbarian from +the North, kneeling before Roman Beauty."</blockquote> +<p>Nature, the nature of Wordsworth and Tennyson, did not exist for +Baudelaire; inspiration he denied; simplicity he scouted as an +anachronism in a decadent period of perfected art, whose last word +in poetry should be the apotheosis of the Artificial. "A little +charlatanism is permitted even to genius," he wrote: "it is like +fard on the cheeks of a naturally beautiful woman; an appetizer for +the mind." Again he expresses himself:</p> +<blockquote>"It seems to me, two women are presented to me, one a +rustic matron, repulsive in health and virtue, without manners, +without expression; in short, owing nothing except to simple +nature;--the other, one of those beauties that dominate and oppress +memory, uniting to her original and unfathomable charms all the +eloquence of dress; who is mistress of her part, conscious of and +queen of herself, speaking like an instrument well tuned; with +looks freighted with thought, yet letting flow only what she would. +My choice would not be doubtful; and yet there are pedagogic +sphinxes who would reproach me as recreant to classical +honor."</blockquote> +<p>In music it was the same choice. He saw the consummate art and +artificiality of Wagner, and preferred it to all other music, at a +time when the German master was ignored and despised by a +classicized musical world. In perfumes it was not the simple +fragrance of the rose or violet that he loved, but musk and amber; +and he said, "my soul hovers over perfumes as the souls of other +men hover over music."</p> +<p>Besides his essays and sketches, Baudelaire published in prose a +novelette; 'Fanfarlo,' 'Artificial Paradises,' opium and hashish, +imitations of De Quincey's 'Confessions of an Opium Eater'; and +'Little Prose Poems,' also inspired by a book, the 'Gaspard de la +Nuit' of Aloysius Bertrand, and which Baudelaire thus +describes:--</p> +<blockquote>"The idea came to me to attempt something analogous, +and to apply to the description of modern life, or rather a modern +and more abstract life, the methods he had applied to the painting +of ancient life, so strangely picturesque. Which one of us in his +ambitious days has not dreamed of a miracle of poetic prose, +musical, without rhythm and without rhyme, supple enough and rugged +enough to adapt itself to the lyrical movements of the soul, to the +undulations of reverie, and to the assaults of +conscience?"</blockquote> +<p>Failing health induced Baudelaire to quit Paris and establish +himself in Brussels; but he received no benefit from the change of +climate, and the first symptoms of his terrible malady manifested +themselves--a slowness of speech, and hesitation over words. As a +slow and sententious enunciation was characteristic of him, the +symptoms attracted no attention, until he fell under a sudden and +violent attack. He was brought back to Paris and conveyed to a +"maison de santé," where he died, after lingering several +months in a paralyzed condition, motionless, speechless; nothing +alive in him but thought, seeking to express itself through his +eyes.</p> +<p>The nature of Baudelaire's malady and death was, by the public +at large, accepted as confirmation of the suspicion that he was in +the habit of seeking his inspiration in the excitation of hashish +and opium. His friends, however, recall the fact of his incessant +work, and intense striving after his ideal in art; his fatigue of +body and mind, and his increasing weariness of spirit under the +accumulating worries and griefs of a life for which his very genius +unfitted him. He was also known to be sober in his tastes, as all +great workers are. That he had lent himself more than once to the +physiological and psychological experiment of hashish was admitted; +but he was a rare visitor at the séances in the saloon of +the Hotel Pimodau, and came as a simple observer of others. His +masterly description of the hallucinations produced by hashish is +accompanied by analytical and moral commentaries which unmistakably +express repugnance to and condemnation of the drug:--</p> +<blockquote>"Admitting for the moment," he writes, "the hypothesis +of a constitution tempered enough and strong enough to resist the +evil effects of the perfidious drug, another, a fatal and terrible +danger, must be thought of,--that of habit. He who has recourse to +a poison to enable him to think, will soon not be able to think +without the poison. Imagine the horrible fate of a man whose +paralyzed imagination is unable to work without the aid of hashish +or opium.... But man is not so deprived of honest means of gaining +heaven, that he is obliged to invoke the aid of pharmacy or +witchcraft; he need not sell his soul in order to pay for the +intoxicating caresses and the love of houris. What is a paradise +that one purchases at the expense of one's own soul?... Unfortunate +wretches who have neither fasted nor prayed, and who have refused +the redemption of labor, ask from black magic the means to elevate +themselves at a single stroke to a supernatural existence. Magic +dupes them, and lights for them a false happiness and a false +light; while we, poets and philosophers, who have regenerated our +souls by incessant work and contemplation, by the assiduous +exercise of the will and permanent nobility of intention, we have +created for our use a garden of true beauty. Confiding in the words +that 'faith will remove mountains,' we have accomplished the one +miracle for which God has given us license."</blockquote> +<p>The perfect art-form of Baudelaire's poems makes translation of +them indeed a literal impossibility. The 'Little Old Women,' 'The +Voyage,' 'The Voyage to Cytherea,' 'A Red-haired Beggar-girl,' 'The +Seven Old Men,' and sonnet after sonnet in 'Spleen and Ideal,' seem +to rise only more and more ineffable from every attempt to filter +them through another language, or through another mind than that of +their original, and, it would seem, one possible creator.</p> +<p class="sign"><img src="images/sign-191.png" width="60%" alt= +""></p> +<br> +<br> +<br> +<br> +<br> +<a name="BAUDELAIRE_01"></a> +<blockquote><b>MEDITATION</b><br> +<br> +Be pitiful, my sorrow--be thou still:<br> +For night thy thirst was--lo, it falleth down,<br> + Slowly darkening it veils the town,<br> +Bringing its peace to some, to some its ill.<br> +<br> + While the dull herd in its mad career<br> +Under the pitiless scourge, the lash of unclean desire,<br> +Goes culling remorse with fingers that never tire:--<br> + My sorrow,--thy hand! Come, sit thou by me here.<br> +<br> +Here, far from them all. From heaven's high balconies<br> +See! in their threadbare robes the dead years cast their eyes:<br> + And from the depths below regret's wan smiles +appear.<br> +<br> +The sun, about to set, under the arch sinks low,<br> +Trailing its weltering pall far through the East aglow.<br> + Hark, dear one, hark! Sweet night's approach is +near.<br> +<br> +Translated for the 'Library of the World's Best +Literature.'</blockquote> +<br> +<br> +<a name="BAUDELAIRE_02"></a> +<blockquote><b>THE DEATH OF THE POOR</b><br> +<br> +This is death the consoler--death that bids live again;<br> + Here life its aim: here is our hope to be +found,<br> + Making, like magic elixir, our poor weak heads to swim +round,<br> +And giving us heart for the struggle till night makes end of the +pain.<br> +<br> + Athwart the hurricane--athwart the snow and +the sleet,<br> + Afar there twinkles over the +black earth's waste,<br> +The light of the Scriptural inn where the weary and the faint may +taste<br> + The sweets of welcome, the plenteous feast and the +secure retreat.<br> +<br> + It is an angel, in whose +soothing palms<br> + Are held the boon of sleep and +dreamy balms,<br> + Who makes a bed for +poor unclothèd men;<br> + It is the pride of the gods--the +all-mysterious room,<br> + The pauper's purse--this fatherland of +gloom,<br> + The open gate to heaven, and +heavens beyond our ken.<br> +<br> +Translated for the 'Library of the World's Best +Literature.'</blockquote> +<br> +<br> +<a name="illus-1625.jpg"></a> +<p class="ctr"><a href="images/illus-1625.jpg"><img src= +"images/illus-1625.jpg" width="40%" alt=""></a><br> +<b>Music.</b><br> +Photogravure from a Painting by J.M. Strudwick.<br> +<br> +<br> +<a name="BAUDELAIRE_03"></a></p> +<blockquote><b>MUSIC</b><br> +<br> +Sweet music sweeps me like the sea<br> + Toward my pale star,<br> +Whether the clouds be there or all the air be free<br> + I sail afar.<br> +With front outspread and swelling breasts,<br> + On swifter sail<br> +I bound through the steep waves' foamy crests<br> + Under night's veil.<br> +Vibrate within me I feel all the passions that lash<br> + A bark in distress:<br> +By the blast I am lulled--by the tempest's wild crash<br> + On the salt wilderness.<br> +Then comes the dead calm--mirrored there<br> + I behold my despair.<br> +<br> +Translated for the 'Library of the World's Best +Literature.'</blockquote> +<br> +<br> +<a name="BAUDELAIRE_04"></a> +<blockquote><b>THE BROKEN BELL</b><br> +<br> +Bitter and sweet, when wintry evenings fall<br> + Across the quivering, smoking hearth, to hear<br> + Old memory's notes sway softly far and near,<br> +While ring the chimes across the gray fog's pall.<br> +<br> +Thrice blessed bell, that, to time insolent,<br> + Still calls afar its old and pious song,<br> + Responding faithfully in accents strong,<br> +Like some old sentinel before his tent.<br> +<br> +I too--my soul is shattered;--when at times<br> +It would beguile the wintry nights with rhymes<br> + Of old, its weak old voice at moments seems<br> +Like gasps some poor, forgotten soldier heaves<br> +Beside the blood-pools--'neath the human sheaves<br> + Gasping in anguish toward their fixèd +dreams.<br> +<br> +Translated for the 'Library of the World's Best +Literature.'</blockquote> +<br> +<p>The two poems following are used by permission of the J.B. +Lippincott Company.</p> +<br> +<br> +<a name="BAUDELAIRE_05"></a> +<blockquote><b>THE ENEMY</b><br> +<br> +My youth swept by in storm and cloudy gloom,<br> + Lit here and there by glimpses of the sun;<br> + But in my garden, now the storm is done,<br> +Few fruits are left to gather purple bloom.<br> +<br> +Here have I touched the autumn of the mind;<br> + And now the careful spade to labor comes,<br> +Smoothing the earth torn by the waves and wind,<br> + Full of great holes, like open mouths of tombs.<br> +<br> +And who knows if the flowers whereof I dream<br> +Shall find, beneath this soil washed like the stream,<br> +The force that bids them into beauty start?<br> + O grief! O grief! Time eats our life away,<br> +And the dark Enemy that gnaws our heart<br> + Grows with the ebbing life-blood of his prey!<br> +<br> +Translation of Miss Katharine Hillard.</blockquote> +<br> +<br> +<a name="BAUDELAIRE_06"></a> +<blockquote><b>BEAUTY</b><br> +<br> +Beautiful am I as a dream in stone;<br> + And for my breast, where each falls bruised in +turn,<br> + The poet with an endless love must yearn--<br> +Endless as Matter, silent and alone.<br> +<br> +A sphinx unguessed, enthroned in azure skies,<br> + White as the swan, my heart is cold as snow;<br> + No hated motion breaks my lines' pure flow,<br> +Nor tears nor laughter ever dim mine eyes.<br> +<br> +Poets, before the attitudes sublime<br> + I seem to steal from proudest monuments,<br> +In austere studies waste the ling'ring time;<br> + For I possess, to charm my lover's sight,<br> + Mirrors wherein all things are fair and bright--<br> + My eyes, my large eyes of eternal light!<br> +<br> +Translation of Miss Katharine Hillard.</blockquote> +<br> +<br> +<a name="BAUDELAIRE_07"></a> +<blockquote><b>DEATH</b><br> +<br> +Ho, Death, Boatman Death, it is time we set sail;<br> + Up anchor, away from this region of blight:<br> +Though ocean and sky are like ink for the gale,<br> + Thou knowest our hearts are consoled with the +light.<br> +<br> +Thy poison pour out--it will comfort us well;<br> + Yea--for the fire that burns in our brain<br> +We would plunge through the depth, be it heaven or hell,<br> + Through the fathomless gulf--the new vision to +gain.<br> +<br> +Translated for the 'Library of the World's Best +Literature.'</blockquote> +<br> +<br> +<a name="BAUDELAIRE_08"></a> +<center><b>THE PAINTER OF MODERN LIFE</b></center> +<br> +<center>From 'L'Art Romantique'</center> +<br> +<p>The crowd is his domain, as the air is that of the bird and the +water that of the fish. His passion and his profession is "to wed +the crowd." For the perfect <i>flâneur</i>, for the +passionate observer, it is an immense pleasure to choose his home +in number, change, motion, in the fleeting and the infinite. To be +away from one's home and yet to be always at home; to be in the +midst of the world, to see it, and yet to be hidden from it; such +are some of the least pleasures of these independent, passionate, +impartial minds which language can but awkwardly define. The +observer is a prince who everywhere enjoys his incognito. The +amateur of life makes the world his family, as the lover of the +fair sex makes his family of all beauties, discovered, +discoverable, and indiscoverable, as the lover of painting lives in +an enchanted dreamland painted on canvas. Thus the man who is in +love with all life goes into a crowd as into an immense electric +battery. One might also compare him to a mirror as immense as the +crowd; to a conscious kaleidoscope which in each movement +represents the multiform life and the moving grace of all life's +elements. He is an ego insatiably hungry for the non-ego, every +moment rendering it and expressing it in images more vital than +life itself, which is always unstable and fugitive. "Any man," said +Mr. G---- one day, in one of those conversations which he lights up +with intense look and vivid gesture, "any man, not overcome by a +sorrow so heavy that it absorbs all the faculties, who is bored in +the midst of a crowd is a fool, a fool, and I despise him."</p> +<p>When Mr. G---- awakens and sees the blustering sun attacking the +window-panes, he says with remorse, with regret:--"What imperial +order! What a trumpet flourish of light! For hours already there +has been light everywhere, light lost by my sleep! How many lighted +objects I might have seen and have not seen!" And then he starts +off, he watches in its flow the river of vitality, so majestic and +so brilliant. He admires the eternal beauty and the astonishing +harmony of life in great cities, a harmony maintained in so +providential a way in the tumult of human liberty. He contemplates +the landscapes of the great city, landscapes of stone caressed by +the mist or struck by the blows of the sun. He enjoys the fine +carriages, the fiery horses, the shining neatness of the grooms, +the dexterity of the valets, the walk of the gliding women, of the +beautiful children, happy that they are alive and dressed; in a +word, he enjoys the universal life. If a fashion, the cut of a +piece of clothing has been slightly changed, if bunches of ribbon +or buckles have been displaced by cockades, if the bonnet is larger +and the back hair a notch lower on the neck, if the waist is higher +and the skirt fuller, be sure that his eagle eye will see it at an +enormous distance. A regiment passes, going perhaps to the end of +the earth, throwing into the air of the boulevards the flourish of +trumpets compelling and light as hope; the eye of Mr. G---- has +already seen, studied, analyzed the arms, the gait, the physiognomy +of the troop. Trappings, scintillations, music, firm looks, heavy +and serious mustaches, all enters pell-mell into him, and in a few +moments the resulting poem will be virtually composed. His soul is +alive with the soul of this regiment which is marching like a +single animal, the proud image of joy in obedience!</p> +<p>But evening has come. It is the strange, uncertain hour at which +the curtains of the sky are drawn and the cities are lighted. The +gas throws spots on the purple of the sunset. Honest or dishonest, +sane or mad, men say to themselves, "At last the day is at an end!" +The wise and the good-for-nothing think of pleasure, and each +hurries to the place of his choice to drink the cup of pleasure. +Mr. G---- will be the last to leave any place where the light may +blaze, where poetry may throb, where life may tingle, where music +may vibrate, where a passion may strike an attitude for his eye, +where the man of nature and the man of convention show themselves +in a strange light, where the sun lights up the rapid joys of +fallen creatures! "A day well spent," says a kind of reader whom we +all know, "any one of us has genius enough to spend a day that +way." No! Few men are gifted with the power to see; still fewer +have the power of expression. Now, at the hour when others are +asleep, this man is bent over his table, darting on his paper the +same look which a short time ago he was casting on the world, +battling with his pencil, his pen, his brush, throwing the water +out of his glass against the ceiling, wiping his pen on his +shirt,--driven, violent, active, as if he fears that his images +will escape him, a quarreler although alone,--a cudgeler of +himself. And the things he has seen are born again upon the paper, +natural and more than natural, beautiful and more than beautiful, +singular and endowed with an enthusiastic life like the soul of the +author. The phantasmagoria have been distilled from nature. All the +materials with which his memory is crowded become classified, +orderly, harmonious, and undergo that compulsory idealization which +is the result of a childlike perception, that is to say, of a +perception that is keen, magical by force of ingenuousness.</p> +<br> +<a name="BAUDELAIRE_09"></a> +<center><b>MODERNNESS</b></center> +<br> +<p>Thus he goes, he runs, he seeks. What does he seek? Certainly +this man, such as I have portrayed him, this solitary, gifted with +an active imagination, always traveling through the great desert of +mankind, has a higher end than that of a mere observer, an end more +general than the fugitive pleasure of the passing event. He seeks +this thing which we may call modernness, for no better word to +express the idea presents itself. His object is to detach from +fashion whatever it may contain of the poetry in history, to draw +the eternal from the transitory. If we glance at the exhibitions of +modern pictures, we are struck with the general tendency of the +artists to dress all their subjects in ancient costumes. That is +obviously the sign of great laziness, for it is much easier to +declare that everything in the costume of a certain period is ugly +than to undertake the work of extracting from it the mysterious +beauty which may be contained in it, however slight or light it may +be. The modern is the transitory, the fleeting, the contingent, the +half of art, whose other half is the unchanging and the eternal. +There was a modernness for every ancient painter; most of the +beautiful portraits which remain to us from earlier times are +dressed in the costumes of their times. They are perfectly +harmonious, because the costumes, the hair, even the gesture, the +look and the smile (every epoch has its look and its smile), form a +whole that is entirely lifelike. You have no right to despise or +neglect this transitory, fleeting element, of which the changes are +so frequent. In suppressing it you fall by necessity into the void +of an abstract and undefinable beauty, like that of the only woman +before the fall. If instead of the costume of the epoch, which is a +necessary element, you substitute another, you create an anomaly +which can have no excuse unless it is a burlesque called for by the +vogue of the moment. Thus, the goddesses, the nymphs, the sultans +of the eighteenth century are portraits morally accurate.</p> +<br> +<a name="BAUDELAIRE_10"></a> +<center><b>FROM 'LITTLE POEMS IN PROSE'</b></center> +<br> +<center>EVERY ONE HIS OWN CHIMERA</center> +<br> +<p>Under a great gray sky, in a great powdery plain without roads, +without grass, without a thistle, without a nettle, I met several +men who were walking with heads bowed down.</p> +<p>Each one bore upon his back an enormous Chimera, as heavy as a +bag of flour or coal, or the accoutrements of a Roman soldier.</p> +<p>But the monstrous beast was not an inert weight; on the +contrary, it enveloped and oppressed the man with its elastic and +mighty muscles; it fastened with its two vast claws to the breast +of the bearer, and its fabulous head surmounted the brow of the +man, like one of those horrible helmets by which the ancient +warriors hoped to increase the terror of the enemy.</p> +<p>I questioned one of these men, and I asked him whither they were +bound thus. He answered that he knew not, neither he nor the +others; but that evidently they were bound somewhere, since they +were impelled by an irresistible desire to go forward.</p> +<p>It is curious to note that not one of these travelers looked +irritated at the ferocious beast suspended from his neck and glued +against his back; it seemed as though he considered it as making +part of himself. None of these weary and serious faces bore witness +to any despair; under the sullen cupola of the sky, their feet +plunging into the dust of a soil as desolate as that sky, they went +their way with the resigned countenances of those who have +condemned themselves to hope forever.</p> +<p>The procession passed by me and sank into the horizon's +atmosphere, where the rounded surface of the planet slips from the +curiosity of human sight, and for a few moments I obstinately +persisted in wishing to fathom the mystery; but soon an +irresistible indifference fell upon me, and I felt more heavily +oppressed by it than even they were by their crushing Chimeras.</p> +<br> +<a name="BAUDELAIRE_11"></a> +<center><b>HUMANITY</b></center> +<br> +<p>At the feet of a colossal Venus, one of those artificial fools, +those voluntary buffoons whose duty was to make kings laugh when +Remorse or Ennui possessed their souls, muffled in a glaring +ridiculous costume, crowned with horns and bells, and crouched +against the pedestal, raised his eyes full of tears toward the +immortal goddess. And his eyes said:--"I am the least and the most +solitary of human beings, deprived of love and of friendship, and +therefore far below the most imperfect of the animals. +Nevertheless, I am made, even I, to feel and comprehend the +immortal Beauty! Ah, goddess! have pity on my sorrow and my +despair!" But the implacable Venus gazed into the distance, at I +know not what, with her marble eyes.</p> +<br> +<a name="BAUDELAIRE_12"></a> +<center><b>WINDOWS</b></center> +<br> +<p>He who looks from without through an open window never sees as +many things as he who looks at a closed window. There is no object +more profound, more mysterious, more rich, more shadowy, more +dazzling than a window lighted by a candle. What one can see in the +sunlight is always less interesting than what takes place behind a +blind. In that dark or luminous hole life lives, dreams, +suffers.</p> +<p>Over the sea of roofs I see a woman, mature, already wrinkled, +always bent over something, never going out. From her clothes, her +movement, from almost nothing, I have reconstructed the history of +this woman, or rather her legend, and sometimes I tell it over to +myself in tears.</p> +<p>If it had been a poor old man I could have reconstructed his +story as easily.</p> +<p>And I go to bed, proud of having lived and suffered in lives not +my own.</p> +<p>Perhaps you may say, "Are you sure that this story is the true +one?" What difference does it make what is the reality outside of +me, if it has helped me to live, to know who I am and what I +am?</p> +<br> +<a name="BAUDELAIRE_13"></a> +<center><b>DRINK</b></center> +<br> +<p>One should be always drunk. That is all, the whole question. In +order not to feel the horrible burden of Time, which is breaking +your shoulders and bearing you to earth, you must be drunk without +cease.</p> +<p>But drunk on what? On wine, poetry, or virtue, as you choose. +But get drunk.</p> +<p>And if sometimes, on the steps of a palace, on the green grass +of a moat, in the dull solitude of your chamber, you awake with +your intoxication already lessened or gone, ask of the wind, the +wave, the star, the clock, of everything that flies, sobs, rolls, +sings, talks, what is the hour? and the wind, the wave, the star, +the bird, the clock will answer, "It is the hour to get drunk!" Not +to be the martyred slave of Time, get drunk; get drunk unceasingly. +Wine, poetry, or virtue, as you choose.</p> +<br> +<a name="BAUDELAIRE_14"></a> +<center><b>FROM A JOURNAL</b></center> +<br> +<p>I swear to myself henceforth to adopt the following rules as the +everlasting rules of my life.... To pray every morning to God, the +Fountain of all strength and of all justice; to my father, to +Mariette, and to Poe. To pray to them to give me necessary strength +to accomplish all my tasks, and to grant my mother a life long +enough to enjoy my reformation. To work all day, or at least as +long as my strength lasts. To trust to God--that is to say, to +Justice itself--for the success of my projects. To pray again every +evening to God to ask Him for life and strength, for my mother and +myself. To divide all my earnings into four parts--one for my daily +expenses, one for my creditors, one for my friends, and one for my +mother. To keep to principles of strict sobriety, and to banish all +and every stimulant.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BEACONSFIELD"></a> +<h2>LORD BEACONSFIELD</h2> +<h3>(1804-1881)</h3> +<center>BY ISA CARRINGTON CABELL</center> +<br> +<p class="par"><img src="images/letter-b.png" width="30%" alt= +""></p> +<p>enjamin Disraeli, Earl of Beaconsfield, born in London, +December, 1804; died there April 19th, 1881. His paternal ancestors +were of the house of Lara, and held high rank among Hebrew-Spanish +nobles till the tribunal of Torquemada drove them from Spain to +Venice. There, proud of their race and origin, they styled +themselves, "Sons of Israel," and became merchant princes. But the +city's commerce failing, the grandfather of Benjamin Disraeli +removed to London with a diminished but comfortable fortune. His +son, Isaac Disraeli, was a well-known literary man, and the author +of 'The Curiosities of Literature.' On account of the political and +social ostracism of the Jews in England, he had all his family +baptized into the Church of England; but with Benjamin Disraeli +especially, Christianity was never more than Judaism developed. His +belief and his affections were in his own race.</p> +<p class="rgt"><img src="images/image-203.png" width="45%" alt= +""><br> +<b>Lord Beaconsfield.</b></p> +<p>Benjamin, like most Jewish youths, was educated in private +schools, and at seventeen entered a solicitor's office. At +twenty-two he published 'Vivian Grey' (London, 1826), which +readable and amusing take-off of London society gave him great and +instantaneous notoriety. Its minute descriptions of the great +world, its caricatures of well-known social and political +personages, its magnificent diction,--too magnificent to be taken +quite seriously,--excited inquiry; and the great world was amazed +to discover that the impertinent observer was not one of +themselves, but a boy in a lawyer's office. To add to the audacity, +he had conceived himself the hero of these diverting situations, +and by his cleverness had outwitted age, beauty, rank, diplomacy +itself.</p> +<p>Statesmen, poets, fine ladies, were all genuinely amused; and +the author bade fair to become a lion, when he fell ill, and was +compelled to leave England for a year or more, which he spent in +travel on the Continent and in Egypt, Nubia, and Palestine. His +visit to the birthplace of his race made an impression on him that +lasted through his life and literature. It is embodied in his +'Letters to His Sister' (London, 1843), and the autobiographical +novel 'Contarini Fleming' (1833), in which he turned his adventures +into fervid English, at a guinea a volume. But although the spirit +of poesy, in the form of a Childe Harold, stalks rampant through +the romance, there is both feeling and fidelity to nature whenever +he describes the Orient and its people. Then the bizarre, brilliant +<i>poseur</i> forgets his rôle, and reveals his highest +aspirations.</p> +<p>When Disraeli returned to London he became the fashion. +Everybody, from the prime minister to Count D'Orsay, had read his +clever novels. The poets praised them, Lady Blessington invited him +to dine, Sir Robert Peel was "most gracious."</p> +<p>But literary success could never satisfy Disraeli's ambition: a +seat in Parliament was at the end of his rainbow. He professed +himself a radical, but he was a radical in his own sense of the +term; and like his own Sidonia, half foreigner, half looker-on, he +felt himself endowed with an insight only possible to, an outsider, +an observer without inherited prepossessions.</p> +<p>Several contemporary sketches of Disraeli at this time have been +preserved. His dress was purposed affectation; it led the beholder +to look for folly only: and when the brilliant flash came, it was +the more startling as unexpected from such a figure. Lady Dufferin +told Mr. Motley that when she met Disraeli at dinner, he wore a +black-velvet coat lined with satin, purple trousers with a gold +band running down the outside seam, a scarlet waistcoat, long lace +ruffles falling down to the tips of his fingers, white gloves with +several rings outside, and long black ringlets rippling down his +shoulders. She told him he had made a fool of himself by appearing +in such a dress, but she did not guess why it had been adopted. +Another contemporary says of him, "When duly excited, his command +of language was wonderful, his power of sarcasm unsurpassed."</p> +<p>He was busy making speeches and writing political squibs for the +next two years; for Parliament was before his eyes. "He knew," says +Froude, "he had a devil of a tongue, and was unincumbered by the +foolish form of vanity called modesty." 'Ixion in Heaven,' 'The +Infernal Marriage,' and 'Popanilla' were attempts to rival both +Lucian and Swift on their own ground. It is doubtful, however, +whether he would have risked writing 'Henrietta Temple' (1837) and +'Venetia' (1837), two ardent love stories, had he not been in debt; +for notoriety as a novelist is not always a recommendation to a +constituency.</p> +<p>In 'Henrietta' he found an opportunity to write the biography of +a lover oppressed by duns. It is a most entertaining novel even to +a reader who does not read for a new light on the great statesman, +and is remarkable as the beginning of what is now known as the +"natural" manner; a revolt, his admirers tell us, from the stilted +fashion of making love that then prevailed in novels.</p> +<p>'Venetia' is founded on the characters of Byron and Shelley, and +is amusing reading. The high-flown language incrusted with the gems +of rhetoric excites our risibilities, but it is not safe to laugh +at Disraeli; in his most diverting aspects he has a deep sense of +humor, and he who would mock at him is apt to get a whip across the +face at an unguarded moment. Mr. Disraeli laughs in his sleeve at +many things, but first of all at the reader.</p> +<p>He failed in his canvass for his seat at High Wycombe, but he +turned his failure to good account, and established a reputation +for pluck and influence. "A mighty independent personage," observed +Charles Greville, and his famous quarrel with O'Connell did him so +little harm that in 1837 he was returned for Maidstone. His first +speech was a failure. The word had gone out that he was to be put +down. At last, finding it useless to persist, he said he was not +surprised at the reception he had experienced. He had begun several +things many times and had succeeded at last. Then pausing, and +looking indignantly across the house, he exclaimed in a loud and +remarkable tone, "I will sit down now, but the time will come when +you will hear me."</p> +<p>He married the widow of his patron, Wyndham Lewis, in 1838. This +put him in possession of a fortune, and gave him the power to +continue his political career. His radicalism was a thing of the +past. He had drifted from Conservatism, with Peel for a leader, to +aristocratic socialism; and in 1844, 1845, and 1847 appeared the +Trilogy, as he styled the novels 'Coningsby,' 'Tancred,' and +'Sibyl.' Of the three, 'Coningsby' will prove the most entertaining +to the modern reader. The hero is a gentleman, and in this respect +is an improvement on Vivian Grey, for his audacity is tempered by +good breeding. The plot is slight, but the scenes are entertaining. +The famous Sidonia, the Jew financier, is a favorite with the +author, and betrays his affection and respect for race. Lord +Monmouth, the wild peer, is a rival of the "Marquis of Steyne" and +worthy of a place in 'Vanity Fair'; the political intriguers are +photographed from life, the pictures of fashionable London tickle +both the vanity and the fancy of the reader.</p> +<p>'Sibyl' is too clearly a novel with a motive to give so much +pleasure. It is a study of the contrasts between the lives of the +very rich and the hopelessly poor, and an attempt to show the +superior condition of the latter when the Catholic Church was +all-powerful in England and the king an absolute monarch.</p> +<p>'Tancred' was composed when Disraeli was under "the illusion of +a possibly regenerated aristocracy." He sends Tancred, the hero, +the heir of a ducal house, to Palestine to find the inspiration to +a true religious belief, and details his adventures with a power of +sarcasm that is seldom equaled. In certain scenes in this novel the +author rises from a mere mocker to a genuine satirist. Tancred's +interview with the bishop, in which he takes that dignitary's +religious tenets seriously; that with Lady Constance, when she +explains the "Mystery of Chaos" and shows how "the stars are formed +out of the cream of the Milky Way, a sort of celestial cheese +churned into light" the vision of the angels on Mt. Sinai, and the +celestial Sidonia who talks about the "Sublime and Solacing +Doctrine of Theocratic Equality,"--all these are passages where we +wonder whether the author sneered or blushed when he wrote. +Certainly what has since been known as the Disraelian irony stings +as we turn each page.</p> +<p>Meanwhile Disraeli had become a power in Parliament, and the +bitter opponent of Peel, under whom Catholic emancipation, +parliamentary reform, and the abrogation of the commercial system, +had been carried without conditions and almost without +mitigations.</p> +<p>Disraeli's assaults on his leader delighted the Liberals; the +country members felt indignant satisfaction at the deserved +chastisement of their betrayer. With malicious skill, Disraeli +touched one after another the weak points in a character that was +superficially vulnerable. Finally the point before the House became +Peel's general conduct. He was beaten by an overwhelming majority, +and to the hand that dethroned him descended the task of building +up the ruins of the Conservative party. Disraeli's best friends +felt this a welcome necessity. There is no example of a rise so +sudden under such conditions. His politics were as much distrusted +as his serious literary passages. But Disraeli was the single +person equal to the task. For the next twenty-five years he led the +Conservative opposition in the House of Commons, varied by short +intervals of power. He was three times Chancellor of the Exchequer, +1853, 1858, and 1859; and on Lord Derby's retirement in 1868 he +became Prime Minister.</p> +<p>In 1870, having laid aside novel-writing for twenty years, he +published 'Lothair.' It is a politico-religious romance aimed at +the Jesuits, the Fenians, and the Communists. It had an +instantaneous success, for its author was the most conspicuous +figure in Europe, but its popularity is also due to its own merits. +We are all of us snobs after a fashion and love high society. The +glory of entering the splendid portals of the real English dukes +and duchesses seems to be ours when Disraeli throws open the magic +door and ushers the reader in. The decorations do not seem tawdry, +nor the tinsel other than real. We move with pleasurable excitement +with Lothair from palace to castle, and thence to battle-field and +scenes of dark intrigue. The hint of the love affair with the +Olympian Theodora appeals to our romance; the circumventing of the +wily Cardinal and his accomplices is agreeable to the Anglo-Saxon +Protestant mind; their discomfiture, and the crowning of virtue in +the shape of a rescued Lothair married to the English Duke's +daughter with the fixed Church of England views, is what the reader +expects and prays for, and is the last privilege of the real +story-teller. That the author has thrown aside his proclivities for +Romanism as he showed them in 'Sibyl,' no more disturbs us than the +eccentricities of his politics. We do not quite give him our faith +when he is most in earnest, talking Semitic Arianism on Mt. +Sinai.</p> +<p>A peerage was offered to him in 1868. He refused it for himself, +but asked Queen Victoria to grant the honor to his wife, who became +the Countess of Beaconsfield. But in 1876 he accepted the rank and +title of Earl of Beaconsfield. The author of 'Vivian Grey' received +the title that Burke had refused.</p> +<p>His last novel, 'Endymion,' was written for the £10,000 +its publishers paid for it. It adds nothing to his fame, but is an +agreeable picture of fashionable London life and the struggles of a +youth to gain power and place.</p> +<p>Lord Beaconsfield put more dukes, earls, lords and ladies, more +gold and jewels, more splendor and wealth into his books than any +one else ever tried to do. But beside his Oriental delight in the +display of luxury, it is interesting to see the effect of that +Orientalism when he describes the people from whom he sprang. His +rare tenderness and genuine respect are for those of the race "that +is the aristocracy of nature, the purest race, the chosen people." +He sends all his heroes to Palestine for inspiration; wisdom dwells +in her gates. Another aristocracy, that of talent, he recognizes +and applauds. No dullard ever succeeds, no genius goes +unrewarded.</p> +<p>It is the part of the story-teller to make his story a probable +one to the listener, no matter how impossible both character and +situation. Mr. Disraeli was accredited with the faculty of +persuading himself to believe or disbelieve whatever he liked; and +did he possess the same power over his readers, these entertaining +volumes would lift him to the highest rank the novelist attains. As +it is, he does not quite succeed in creating an illusion, and we +are conscious of two lobes in the author's brain; in one sits a +sentimentalist, in the other a mocking devil.</p> +<p class="sign"><img src="images/sign-207.png" width="60%" alt= +""></p> +<br> +<br> +<br> +<br> +<br> +<br> +<a name="BEACONSFIELD_01"></a> +<center><b>A DAY AT EMS</b></center> +<br> +<center>From 'Vivian Grey'</center> +<br> +<p>"I think we'd better take a little coffee now; and then, if you +like, we'll just stroll into the REDOUTE" [continued Baron de +Konigstein].</p> +<p>In a brilliantly illuminated saloon, adorned with Corinthian +columns, and casts from some of the most famous antique statues, +assembled between nine and ten o'clock in the evening many of the +visitors at Ems. On each side of the room was placed a long, narrow +table, one of which was covered with green baize, and unattended, +while the variously colored leather surface of the other was very +closely surrounded by an interested crowd. Behind this table stood +two individuals of very different appearance. The first was a +short, thick man, whose only business was dealing certain portions +of playing cards with quick succession, one after the other; and as +the fate of the table was decided by this process, did his +companion, an extremely tall, thin man, throw various pieces of +money upon certain stakes, which were deposited by the bystanders +on different parts of the table; or, which was more often the case, +with a silver rake with a long ebony handle, sweep into a large +inclosure near him the scattered sums. This inclosure was called +the bank, and the mysterious ceremony in which these persons were +assisting was the celebrated game of <i>rouge-et-noir.</i> A deep +silence was strictly observed by those who immediately surrounded +the table; no voice was heard save that of the little, short, stout +dealer, when, without an expression of the least interest, he +seemed mechanically to announce the fate of the different colors. +No other sound was heard save the jingle of the dollars and +napoleons, and the ominous rake of the tall, thin banker. The +countenances of those who were hazarding their money were grave and +gloomy their eyes were fixed, their brows contracted, and their +lips projected; and yet there was an evident effort visible to show +that they were both easy and unconcerned. Each player held in his +hand a small piece of pasteboard, on which, with a steel pricker, +he marked the run of the cards, in order, from his observations, to +regulate his own play: the <i>rouge-et-noir</i> player imagines +that chance is not capricious. Those who were not interested in the +game promenaded in two lines within the tables; or, seated in +recesses between the pillars, formed small parties for +conversation.</p> +<p>As Vivian and the baron entered, Lady Madeleine Trevor, leaning +on the arm of an elderly man, left the room; but as she was in +earnest conversation, she did not observe them.</p> +<p>"I suppose we must throw away a dollar or two, Grey!" said the +baron, as he walked up to the table.</p> +<p>"My dear De Konigstein--one pinch--one pinch!"</p> +<p>"Ah! marquis, what fortune to-night?"</p> +<p>"Bad--bad! I have lost my napoleon: I never risk further. +There's that cursed crusty old De Trumpetson, persisting, as usual, +in his run of bad luck, because he will never give in. Trust me, my +dear De Konigstein, it'll end in his ruin; and then, if there's a +sale of his effects, I shall perhaps get the snuff-box--a-a-h!"</p> +<p>"Come, Grey; shall I throw down a couple of napoleons on joint +account? I don't care much for play myself; but I suppose at Ems we +must make up our minds to lose a few louis. Here! now for the +red--joint account, mind!"</p> +<p>"Done."</p> +<p>"There's the archduke! Let us go and make our bow; we needn't +stick at the table as if our whole soul were staked with our crown +pieces--we'll make our bow, and then return in time to know our +fate." So saying, the gentlemen walked up to the top of the +room.</p> +<p>"Why, Grey!--surely no--it cannot be--and yet it is. De +Boeffleurs, how d'ye do?" said the baron, with a face beaming with +joy, and a hearty shake of the hand. "My dear, dear fellow, how the +devil did you manage to get off so soon? I thought you were not to +be here for a fortnight: we only arrived ourselves to-day."</p> +<p>"Yes--but I've made an arrangement which I did not anticipate; +and so I posted after you immediately. Whom do you think I have +brought with me?"</p> +<p>"Who?"</p> +<p>"Salvinski."</p> +<p>"Ah! And the count?"</p> +<p>"Follows immediately. I expect him to-morrow or next day. +Salvinski is talking to the archduke; and see, he beckons to me. I +suppose I am going to be presented."</p> +<p>The chevalier moved forward, followed by the baron and +Vivian.</p> +<p>"Any friend of Prince Salvinski I shall always have great +pleasure in having presented to me. Chevalier, I feel great +pleasure in having you presented to me! Chevalier, you ought to be +proud of the name of Frenchman. Chevalier, the French are a grand +nation. Chevalier, I have the highest respect for the French +nation."</p> +<p>"The most subtle diplomatist," thought Vivian, as he recalled to +mind his own introduction, "would be puzzled to decide to which +interest his imperial highness leans."</p> +<p>The archduke now entered into conversation with the prince, and +most of the circle who surrounded him. As his highness was +addressing Vivian, the baron let slip our hero's arm, and seizing +hold of the Chevalier de Boeffleurs, began walking up and down the +room with him, and was soon engaged in very animated conversation. +In a few minutes the archduke, bowing to his circle, made a move +and regained the side of a Saxon lady, from whose interesting +company he had been disturbed by the arrival of Prince +Salvinski--an individual of whose long stories and dull romances +the archduke had, from experience, a particular dread; but his +highness was always very courteous to the Poles.</p> +<p>"Grey, I've dispatched De Boeffleurs to the house to instruct +the servant and Ernstorff to do the impossible, in order that our +rooms may be all together. You'll be delighted with De Boeffleurs +when you know him, and I expect you to be great friends. Oh! by the +by, his unexpected arrival has quite made us forget our venture at +<i>rouge-et-noir.</i> Of course we're too late now for anything; +even if we had been fortunate, our doubled stake, remaining on the +table, is of course lost; we may as well, however, walk up." So +saying, the baron reached the table.</p> +<p>"That is your excellency's stake!--that is your excellency's +stake!" exclaimed many voices as he came up.</p> +<p>"What's the matter, my friends? what's the matter?" asked the +baron, very calmly.</p> +<p>"There's been a run on the red! there's been a run on the red! +and your excellency's stake has doubled each time. It has been +4--8--16--32--64--128--256; and now it's 512!" quickly rattled a +little thin man in spectacles, pointing at the same time to his +unparalleled line of punctures. This was one of those officious, +noisy little men, who are always ready to give you unasked +information on every possible subject, and who are never so happy +as when they are watching over the interest of some stranger, who +never thanks them for their unnecessary solicitude.</p> +<p>Vivian, in spite of his philosophy, felt the excitement and +wonder of the moment. He looked very earnestly at the baron, whose +countenance, however, remained perfectly unmoved.</p> +<p>"Grey," said he, very coolly, "it seems we're in luck."</p> +<p>"The stake's then not all your own?" very eagerly asked the +little man in spectacles.</p> +<p>"No, part of it is yours, sir," answered the baron, very +dryly.</p> +<p>"I'm going to deal," said the short, thick man behind. "Is the +board cleared?"</p> +<p>"Your excellency then allows the stake to remain?" inquired the +tall, thin banker, with affected nonchalance.</p> +<p>"Oh! certainly," said the baron, with real nonchalance.</p> +<p>"Three--eight--fourteen--twenty-four--thirty-four, Rouge +34--"</p> +<p>All crowded nearer; the table was surrounded five or six deep, +for the wonderful run of luck had got wind, and nearly the whole +room were round the table. Indeed, the archduke and Saxon lady, and +of course the silent suite, were left alone at the upper part of +the room. The tall banker did not conceal his agitation. Even the +short, stout dealer ceased to be a machine. All looked anxious +except the baron. Vivian looked at the table; his excellency +watched, with a keen eye, the little dealer. No one even breathed +as the cards descended. "Ten--twenty--" here the countenance of the +banker brightened--"twenty-two-- +twenty-five--twenty-eight--thirty-one'--Noir 31. The bank's broke; +no more play to-night. The roulette table opens immediately."</p> +<p>In spite of the great interest which had been excited, nearly +the whole crowd, without waiting to congratulate the baron, rushed +to the opposite side of the room in order to secure places at the +roulette table.</p> +<p>"Put these five hundred and twelve Napoleons into a bag," said +the baron; "Grey, this is your share, and I congratulate you. With +regard to the other half, Mr. Hermann, what bills have you +got?"</p> +<p>"Two on Gogel's house of Frankfort--accepted of course--for two +hundred and fifty each, and these twelve napoleons will make it +right," said the tall banker, as he opened a large black +pocket-book, from which he took out two small bits of paper. The +baron examined them, and after having seen them indorsed, put them +calmly into his pocket, not forgetting the twelve napoleons; and +then taking Vivian's arm, and regretting extremely that he should +have the trouble of carrying such a weight, he wished Mr. Hermann a +very good-night and success at his roulette, and walked with his +companion quietly home. Thus passed a day at Ems!</p> +<br> +<a name="BEACONSFIELD_02"></a> +<center><b>THE FESTA IN THE "ALHAMBRA"</b></center> +<br> +<center>From 'The Young Duke'</center> +<br> +<p>You entered the Alhambra by a Saracenic cloister, from the +ceiling of which an occasional lamp threw a gleam upon some Eastern +arms hung up against the wall. This passage led to the armory, a +room of moderate dimensions, but hung with rich contents. Many an +inlaid breastplate--many a Mameluke scimitar and Damascus +blade--many a gemmed pistol and pearl embroided saddle might there +be seen, though viewed in a subdued and quiet light. All seemed +hushed and still, and shrouded in what had the reputation of being +a palace of pleasure.</p> +<p>In this chamber assembled the expected guests. His Grace and the +Bird of Paradise arrived first, with their foreign friends. Lord +Squib and Lord Darrell, Sir Lucius Grafton, Mr. Annesley, and Mr. +Peacock Piggott followed, but not alone. There were two ladies who, +by courtesy if no other right, bore the titles of Lady Squib and +Mrs. Annesley. There was also a pseudo Lady Aphrodite Grafton. +There was Mrs. Montfort, the famous <i>blonde</i>, of a beauty +which was quite ravishing, and dignified as beautiful. Some said +(but really people say such things) that there was a talk (I never +believe anything I hear) that had not the Bird of Paradise flown in +(these foreigners pick up everything), Mrs. Montfort would have +been the Duchess of St. James. How this may be I know not; certain, +however, this superb and stately donna did not openly evince any +spleen at her more fortunate rival. Although she found herself a +guest at the Alhambra instead of being the mistress of the palace, +probably, like many other ladies, she looked upon this affair of +the singing-bird as a freak that must end--and then perhaps his +Grace, who was a charming young man, would return to his senses. +There also was her sister, a long, fair girl, who looked +sentimental, but was only silly. There was a little French actress, +like a highly finished miniature; and a Spanish <i>danseuse</i>, +tall, dusky, and lithe, glancing like a lynx, and graceful as a +jennet.</p> +<p>Having all arrived, they proceeded down a small gallery to the +banqueting-room. The doors were thrown open. Pardon me if for a +moment I do not describe the chamber; but really, the blaze affects +my sight. The room was large and lofty. It was fitted up as an +Eastern tent. The walls were hung with scarlet cloth tied up with +ropes of gold. Round the room crouched recumbent lions richly gilt, +who grasped in their paw a lance, the top of which was a colored +lamp. The ceiling was emblazoned with the Hauteville arms, and was +radiant with burnished gold. A cresset lamp was suspended from the +centre of the shield, and not only emitted an equable flow of soft +though brilliant light, but also, as the aromatic oil wasted away, +distilled an exquisite perfume.</p> +<p>The table blazed with golden plate, for the Bird of Paradise +loved splendor. At the end of the room, under a canopy and upon a +throne, the shield and vases lately executed for his Grace now +appeared. Everything was gorgeous, costly, and imposing; but there +was no pretense, save in the original outline, at maintaining the +Oriental character. The furniture was French; and opposite the +throne Canova's Hebe, by Bertolini, bounded with a golden cup from +a pedestal of <i>ormolu</i>.</p> +<p>The guests are seated; but after a few minutes the servants +withdraw. Small tables of ebony and silver, and dumb-waiters of +ivory and gold, conveniently stored, are at hand, and Spiridion +never leaves the room. The repast was most refined, most exquisite, +and most various. It was one of those meetings where all eat. When +a few persons, easy and unconstrained, unincumbered with cares, and +of dispositions addicted to enjoyment, get together at past +midnight, it is extraordinary what an appetite they evince. Singers +also are proverbially prone to gormandize; and though the Bird of +Paradise unfortunately possessed the smallest mouth in all +Singingland, it is astonishing how she pecked! But they talked as +well as feasted, and were really gay. It was amusing to +observe--that is to say, if you had been a dumb-waiter, and had +time for observation--how characteristic was the affectation of the +women. Lady Squib was witty, Mrs. Annesley refined, and the pseudo +Lady Afy fashionable. As for Mrs. Montfort, she was, as her wont, +somewhat silent but excessively sublime. The Spaniard said nothing, +but no doubt indicated the possession of Cervantic humor by the sly +calmness with which she exhausted her own waiter and pillaged her +neighbors. The little Frenchwoman scarcely ate anything, but drank +champagne and chatted, with equal rapidity and equal composure.</p> +<p>"Prince," said the duke, "I hope Madame de Harestein approves of +your trip to England?"</p> +<p>The prince only smiled, for he was of a silent disposition, and +therefore wonderfully well suited his traveling companion.</p> +<p>"Poor Madame de Harestein!" exclaimed Count Frill. "What despair +she was in when you left Vienna, my dear duke. Ah! <i>mon Dieu!</i> +I did what I could to amuse her. I used to take my guitar, and sing +to her morning and night, but without the least effect. She +certainly would have died of a broken heart, if it had not been for +the dancing-dogs."</p> +<p>"The dancing-dogs!" minced the pseudo Lady Aphrodite. "How +shocking!"</p> +<p>"Did they bite her?" asked Lady Squib, "and so inoculate her +with gayety?"</p> +<p>"Oh! the dancing-dogs, my dear ladies! everybody was mad about +the dancing-dogs. They came from Peru, and danced the mazurka in +green jackets with a <i>jabot!</i> Oh! what a <i>jabot!</i>"</p> +<p>"I dislike animals excessively," remarked Mrs. Annesley.</p> +<p>"Dislike the dancing-dogs!" said Count Frill. "Ah, my good lady, +you would have been enchanted. Even the kaiser fed them with +pistachio nuts. Oh, so pretty! delicate leetle things, soft shining +little legs, and pretty little faces! so sensible, and with such +<i>jabots!</i>"</p> +<p>"I assure you, they were excessively amusing," said the prince, +in a soft, confidential undertone to his neighbor, Mrs. Montfort, +who, admiring his silence, which she took for state, smiled and +bowed with fascinating condescension.</p> +<p>"And what else has happened very remarkable, count, since I left +you?" asked Lord Darrell.</p> +<p>"Nothing, nothing, my dear Darrell. This <i>bêtise</i> of +a war has made us all serious. If old Clamstandt had not married +that gipsy little Dugiria, I really think I should have taken a +turn to Belgrade."</p> +<p>"You should not eat so much, poppet," drawled Charles Annesley +to the Spaniard.</p> +<p>"Why not?" said the little French lady, with great animation, +always ready to fight anybody's battle, provided she could get an +opportunity to talk. "Why not, Mr. Annesley? You never will let +anybody eat--I never eat myself, because every night, having to +talk so much, I am dry, dry, dry--so I drink, drink, drink. It is +an extraordinary thing that there is no language which makes you so +thirsty as French. I always have heard that all the southern +languages, Spanish and Italian, make you hungry."</p> +<p>"What can be the reason?" seriously asked the pseudo Lady +Afy.</p> +<p>"Because there is so much salt in it," said Lord Squib.</p> +<p>"Delia," drawled Mr. Annesley, "you look very pretty +to-night!"</p> +<p>"I am charmed to charm you, Mr. Annesley. Shall I tell you what +Lord Bon Mot said of you?"</p> +<p>"No, <i>ma mignonne</i>! I never wish to hear my own good +things."</p> +<p>"<i>Spoiled</i>, you should add," said Lady Squib, "if Bon Mot +be in the case."</p> +<p>"Lord Bon Mot is a most gentlemanly man," said Delia, indignant +at an admirer being attacked. "He always wants to be amusing. +Whenever he dines out, he comes and sits with me half an hour to +catch the air of Parisian badinage."</p> +<p>"And you tell him a variety of little things?" asked Lord Squib, +insidiously drawing out the secret tactics of Bon Mot.</p> +<p>"<i>Beaucoup, beaucoup</i>," said Delia, extending two little +white hands sparkling with gems. "If he come in ever so--how do you +call it? heavy--not that--in the domps--ah! it is that--if ever he +come in the domps, he goes out always like a +<i>soufflée.</i>"</p> +<p>"As empty, I have no doubt," said Lady Squib.</p> +<p>"And as sweet, I have no doubt," said Lord Squib; "for Delcroix +complains sadly of your excesses, Delia."</p> +<p>"Mr. Delcroix complain of me! That, indeed, is too bad. Just +because I recommended Montmorency de Versailles to him for an +excellent customer, ever since he abuses me, merely because +Montmorency has forgot, in the hurry of going off, to pay his +little account."</p> +<p>"But he says you have got all the things," said Lord Squib, +whose great amusement was to put Delia in a passion.</p> +<p>"What of that?" screamed the little lady. "Montmorency gave them +to me."</p> +<p>"Don't make such a noise," said the Bird of Paradise. "I never +can eat when there is a noise. St. James," continued she, in a +fretful tone, "they make such a noise!"</p> +<p>"Annesley, keep Squib quiet."</p> +<p>"Delia, leave that young man alone. If Isidora would talk a +little more, and you eat a little more, I think you would be the +most agreeable little ladies I know. Poppet! put those +<i>bonbons</i> in your pocket. You should never eat sugar-plums in +company."</p> +<p>Thus talking agreeable nonsense, tasting agreeable dishes, and +sipping agreeable wines, an hour ran on. Sweetest music from an +unseen source ever and anon sounded, and Spiridion swung a censer +full of perfumes around the chamber. At length the duke requested +Count Frill to give them a song. The Bird of Paradise would never +sing for pleasure, only for fame and a slight check. The count +begged to decline, and at the same time asked for a guitar. The +signora sent for hers; and his Excellency, preluding with a +beautiful simper, gave them some slight thing to this effect:--</p> +<blockquote>Charming Bignetta! charming Bignetta!<br> +What a gay little girl is charming Bignetta!<br> + She dances, she prattles,<br> + She rides and she rattles;<br> +But she always is charming--that charming Bignetta!<br> +<br> +Charming Bignetta! charming Bignetta!<br> +What a wild little witch is charming Bignetta!<br> + When she smiles I'm all +madness;<br> + When she frowns I'm all +sadness;<br> +But she always is smiling--that charming Bignetta!<br> +<br> +Charming Bignetta! charming Bignetta!<br> +What a wicked young rogue is charming Bignetta!<br> + She laughs at my shyness,<br> + And flirts with his +highness;<br> +Yet still she is charming--that charming Bignetta!<br> +<br> +Charming Bignetta! charming Bignetta!<br> +What a dear little girl is charming Bignetta!<br> + "Think me only a sister,"<br> + Said she trembling; I kissed +her.<br> +What a charming young sister is--charming Bignetta!</blockquote> +<br> +<p>He ceased; and although</p> +<blockquote> + "--the +Ferrarese<br> +To choicer music chimed his gay guitar<br> + In +Este's halls,"</blockquote> +<br> +<p>as Casti himself, or rather Mr. Rose, choicely sings, yet still +his song served its purpose, for it raised a smile.</p> +<p>"I wrote that for Madame Sapiepha, at the Congress of Verona," +said Count Frill. "It has been thought amusing."</p> +<p>"Madame Sapiepha!" exclaimed the Bird of Paradise. "What! that +pretty little woman who has such pretty caps?"</p> +<p>"The same! Ah! what caps! <i>Mon Dieu!</i> what taste! what +taste!"</p> +<p>"You like caps, then?" asked the Bird of Paradise, with a +sparkling eye.</p> +<p>"Oh! if there be anything more than other that I know most, it +is the cap. Here, <i>voici!</i>" said he, rather oddly unbuttoning +his waistcoat, "you see what lace I have got. <i>Voici! +voici!</i>"</p> +<p>"Ah! me! what lace! what lace!" exclaimed the Bird in rapture. +"St. James, look at his lace. Come here, come here, sit next me. +Let me look at that lace." She examined it with great attention, +then turned up her beautiful eyes with a fascinating smile. "<i>Ah! +c'est jolie, n'est-ce pas?</i> But you like caps. I tell you what, +you shall see my caps. Spiridion, go, <i>mon cher,</i> and tell +ma'amselle to bring my caps--all my caps, one of each set."</p> +<p>In due time entered the Swiss, with the caps--all the caps--one +of each set. As she handed them in turn to her mistress, the Bird +chirped a panegyric upon each.</p> +<p>"That is pretty, is it not--and this also? but this is my +favorite. What do you think of this border? <i>c'est belle, cette +garniture? et ce jabot, c'est tres séduisant, n'est-ce +pas? Mais voici,</i><br> +the cap of Princess Lichtenstein. <i>C'est superb, c'est mon +favori.</i> But I also love very much this of the Duchesse de +Berri. She gave me the pattern herself. And after all, this +<i>cornette à petite santé</i> of Lady Blaze is a +dear little thing; then, again, this <i>coiffe à +dentelle</i> of Lady Macaroni is quite a pet."</p> +<p>"Pass them down," said Lord Squib, "we want to look at them." +Accordingly they were passed down. Lord Squib put one on.</p> +<p>"Do I look superb, sentimental, or only pretty?" asked his +lordship. The example was contagious, and most of the caps were +appropriated. No one laughed more than their mistress, who, not +having the slightest idea of the value of money, would have given +them all away on the spot; not from any good-natured feeling, but +from the remembrance that to-morrow she might amuse half an hour +buying others.</p> +<p>While some were stealing, and she remonstrating, the duke +clapped his hands like a caliph. The curtain at the end of the +apartment was immediately withdrawn and the ball-room stood +revealed.</p> +<p>It was of the same size as the banqueting-hall. Its walls +exhibited a long perspective of gilt pilasters, the frequent piers +of which were entirely of plate looking-glass, save where +occasionally a picture had been, as it were, inlaid in its rich +frame. Here was the Titian Venus of the Tribune, deliciously copied +by a French artist; there, the Roman Fornarina, with her delicate +grace, beamed like the personification of Raphael's genius. Here +Zuleikha, living in the light and shade of that magician Guercino, +in vain summoned the passions of the blooming Hebrew; and there +Cleopatra, preparing for her last immortal hour, proved by what we +saw that Guido had been a lover.</p> +<p>The ceiling of this apartment was richly painted and richly +gilt; from it were suspended three lustres by golden cords, which +threw a softened light upon the floor of polished and curiously +inlaid woods. At the end of the apartment was an orchestra, and +here the pages, under the direction of Carlstein, offered a very +efficient domestic band.</p> +<p>Round the room waltzed the elegant revelers. Softly and slowly, +led by their host, they glided along like spirits of air; but each +time that the duke passed the musicians, the music became livelier, +and the motion more brisk, till at length you might have mistaken +them for a college of spinning dervishes. One by one, an exhausted +couple slunk away. Some threw themselves on a sofa, some +monopolized an easy-chair; but in twenty minutes all the dancers +had disappeared. At length Peacock Piggott gave a groan, which +denoted returning energy, and raised a stretching leg in air, +bringing up, though most unwittingly, on his foot one of the Bird's +sublime and beautiful caps.</p> +<p>"Halloo! Piggott, armed <i>cap au pied</i>, I see," said Lord +Squib. This joke was a signal for general resuscitation....</p> +<p>Here they lounged in different parties, 'talking on such +subjects as idlers ever fall upon; now and then plucking a +flower--now and then listening to the fountain--now and then +lingering over the distant music--and now and then strolling +through a small apartment which opened to their walks, and which +bore the title of the Temple of Gnidus. Here Canova's Venus +breathed an atmosphere of perfume and of light--that wonderful +statue whose full-charged eye is not very classical, to be +sure--but then, how true!</p> +<p>Lord Squib proposed a visit to the theatre, which he had ordered +to be lit up. To the theatre they repaired. They rambled over every +part of the house, amused themselves, to the horror of Mr. +Annesley, with a visit to the gallery, and then collected behind +the scenes. They were excessively amused with the properties; and +Lord Squib proposed they should dress themselves. Enough champagne +had been quaffed to render any proposition palatable, and in a few +minutes they were all in costume. A crowd of queens and +chambermaids, Jews and chimney-sweeps, lawyers and charleys, +Spanish dons and Irish officers, rushed upon the stage. The little +Spaniard was Almaviva, and fell into magnificent attitudes, with +her sword and plume. Lord Squib was the old woman of Brentford, and +very funny. Sir Lucius Grafton, Harlequin; and Darrell, Grimaldi. +The prince and the count, without knowing it, figured as watchmen. +Squib whispered Annesley that Sir Lucius O'Trigger might appear in +character, but was prudent enough to suppress the joke.</p> +<p>The band was summoned, and they danced quadrilles with infinite +spirit, and finished the night, at the suggestion of Lord Squib, by +breakfasting on the stage. By the time this meal was dispatched, +the purple light of morn had broken into the building, and the +ladies proposed an immediate departure. Mrs. Montfort and her +sister were sent home in one of the duke's carriages; and the +foreign guests were requested by him to be their escort. The +respective parties drove off. Two cabriolets lingered to the last, +and finally carried away the French actress and the Spanish dancer, +Lord Darrell, and Peacock Piggott; but whether the two gentlemen +went in one and two ladies in the other I cannot aver. I hope +not.</p> +<p>There was at length a dead silence, and the young duke was left +to solitude and the signora!</p> +<br> +<a name="BEACONSFIELD_03"></a> +<center><b>SQUIBS PROM 'THE YOUNG DUKE'</b></center> +<br> +<center>CHARLES ANNESLEY</center> +<br> +<p>Dandy has been voted vulgar, and beau is now the word. I doubt +whether the revival will stand; and as for the exploded title, +though it had its faults at first, the muse or Byron has made it +not only English, but classical. However, I dare say I can do +without either of these words at present. Charles Annesley could +hardly be called a dandy or a beau. There was nothing in his dress, +though some mysterious arrangement in his costume--some rare +simplicity--some curious happiness--always made it distinguished; +there was nothing, however, in his dress which could account for +the influence which he exercised over the manners of his +contemporaries. Charles Annesley was about thirty. He had inherited +from his father, a younger brother, a small estate; and though heir +to a wealthy earldom, he had never abused what the world called +"his prospects." Yet his establishments--his little house in +Mayfair--his horses--his moderate stud at Melton--were all unique, +and everything connected with him was unparalleled for its +elegance, its invention, and its refinement. But his manner was his +magic. His natural and subdued nonchalance, so different from the +assumed non-emotion of a mere dandy; his coldness of heart, which +was hereditary, not acquired; his cautious courage, and his +unadulterated self-love, had permitted him to mingle much with +mankind without being too deeply involved in the play of their +passions; while his exquisite sense of the ridiculous quickly +revealed those weaknesses to him which his delicate satire did not +spare, even while it refrained from wounding. All feared, many +admired, and none hated him. He was too powerful not to dread, too +dexterous not to admire, too superior to hate. Perhaps the great +secret of his manner was his exquisite superciliousness; a quality +which, of all, is the most difficult to manage. Even with his +intimates he was never confidential, and perpetually assumed his +public character with the private coterie which he loved to rule. +On the whole, he was unlike any of the leading men of modern days, +and rather reminded one of the fine gentlemen of our old brilliant +comedy--the Dorimants, the Bellairs, and the Mirabels.</p> +<br> +<a name="BEACONSFIELD_04"></a> +<center><b>THE FUSSY HOSTESS</b></center> +<br> +<p>Men shrink from a fussy woman. And few can aspire to regulate +the destinies of their species, even in so slight a point as an +hour's amusement, without rare powers. There is no greater sin than +to be <i>trop prononcée</i>. A want of tact is worse than a +want of virtue. Some women, it is said, work on pretty well against +the tide without the last. I never knew one who did not sink who +ever dared to sail without the first.</p> +<p>Loud when they should be low, quoting the wrong person, talking +on the wrong subject, teasing with notice, excruciating with +attentions, disturbing a <i>tête-à-tête</i> in +order to make up a dance; wasting eloquence in persuading a man to +participate in amusement whose reputation depends on his social +sullenness; exacting homage with a restless eye, and not permitting +the least worthy knot to be untwined without their divinityships' +interference; patronizing the meek, anticipating the slow, +intoxicating with compliment, plastering with praise that you in +return may gild with flattery; in short, energetic without +elegance, active without grace, and loquacious without wit; +mistaking bustle for style, raillery for badinage, and noise for +gayety--these are the characters who mar the very career they think +they are creating, and who exercise a fatal influence on the +destinies of all those who have the misfortune to be connected with +them.</p> +<br> +<a name="BEACONSFIELD_05"></a> +<center><b>PUBLIC SPEAKING</b></center> +<br> +<p>Eloquence is the child of Knowledge. When a mind is full, like a +wholesome river, it is also clear. Confusion and obscurity are much +oftener the results of ignorance than of inefficiency. Few are the +men who cannot express their meaning when the occasion demands the +energy; as the lowest will defend their lives with acuteness, and +sometimes even with eloquence. They are masters of their subject. +Knowledge must be gained by ourselves. Mankind may supply us with +facts; but the results, even if they agree with previous ones, must +be the work of our own mind. To make others feel, we must feel +ourselves; and to feel ourselves, we must be natural. This we can +never be when we are vomiting forth the dogmas of the schools. +Knowledge is not a mere collection of words; and it is a delusion +to suppose that thought can be obtained by the aid of any other +intellect than our own. What is repetition, by a curious mystery, +ceases to be truth, even if it were truth when it was first heard; +as the shadow in a mirror, though it move and mimic all the actions +of vitality, is not life. When a man is not speaking or writing +from his own mind, he is as insipid company as a looking-glass. +Before a man can address a popular assembly with command, he must +know something of mankind, and he can know nothing of mankind +without he knows something of himself. Self-knowledge is the +property of that man whose passions have their play, but who +ponders over their results. Such a man sympathizes by inspiration +with his kind. He has a key to every heart. He can divine, in the +flash of a single thought, all that they require, all that they +wish. Such a man speaks to their very core. All feel that a master +hand tears off the veil of cant, with which, from necessity, they +have enveloped their souls; for cant is nothing more than the +sophistry which results from attempting to account for what is +unintelligible, or to defend what is improper.</p> +<br> +<a name="BEACONSFIELD_06"></a> +<center><b>FEMALE BEAUTY</b></center> +<br> +<p>There are some sorts of beauty which defy description, and +almost scrutiny. Some faces rise upon us in the tumult of life, +like stars from out the sea, or as if they had moved out of a +picture. Our first impression is anything but fleshly. We are +struck dumb--we gasp for breath--our limbs quiver--a faintness +glides over our frame--we are awed; instead of gazing upon the +apparition, we avert the eyes, which yet will feed upon its beauty. +A strange sort of unearthly pain mixes with the intense pleasure. +And not till, with a struggle, we call back to our memory the +commonplaces of existence, can we recover our commonplace demeanor. +These, indeed, are rare visions--these, indeed, are early feelings, +when our young existence leaps with its mountain torrents; but as +the river of our life rolls on, our eyes grow dimmer, or our blood +more cold.</p> +<br> +<a name="BEACONSFIELD_07"></a> +<center><b>LOTHAIR IN PALESTINE</b></center> +<br> +<center>From 'Lothair'</center> +<br> +<p>A person approached Lothair by the pathway from Bethany. It was +the Syrian gentleman whom he had met at the consulate. As he was +passing Lothair, he saluted him with the grace which had been +before remarked; and Lothair, who was by nature courteous, and even +inclined a little to ceremony in his manners, especially with those +with whom he was not intimate, immediately rose, as he would not +receive such a salutation in a reclining posture.</p> +<p>"Let me not disturb you," said the stranger; "or, if we must be +on equal terms, let me also be seated, for this is a view that +never palls."</p> +<p>"It is perhaps familiar to you," said Lothair; "but with me, +only a pilgrim, its effect is fascinating, almost +overwhelming."</p> +<p>"The view of Jerusalem never becomes familiar," said the Syrian; +"for its associations are so transcendent, so various, so +inexhaustible, that the mind can never anticipate its course of +thought and feeling, when one sits, as we do now, on this immortal +mount." ...</p> +<p>"I have often wished to visit the Sea of Galilee," said +Lothair.</p> +<p>"Well, you have now an opportunity," said the Syrian: "the north +of Palestine, though it has no tropical splendor, has much variety +and a peculiar natural charm. The burst and brightness of spring +have not yet quite vanished; you would find our plains radiant with +wild-flowers, and our hills green with young crops, and though we +cannot rival Lebanon, we have forest glades among our famous hills +that when once seen are remembered."</p> +<p>"But there is something to me more interesting than the splendor +of tropical scenery," said Lothair, "even if Galilee could offer +it. I wish to visit the cradle of my faith."</p> +<p>"And you would do wisely," said the Syrian, "for there is no +doubt the spiritual nature of man is developed in this land."</p> +<p>"And yet there are persons at the present day who doubt--even +deny--the spiritual nature of man," said Lothair. "I do not, I +could not--there are reasons why I could not."</p> +<p>"There are some things I know, and some things I believe," said +the Syrian. "I know that I have a soul, and I believe that it is +immortal."</p> +<p>"It is science that, by demonstrating the insignificance of this +globe in the vast scale of creation, has led to this infidelity," +said Lothair.</p> +<p>"Science may prove the insignificance of this globe in the scale +of creation," said the stranger, "but it cannot prove the +insignificance of man. What is the earth compared with the sun? a +molehill by a mountain; yet the inhabitants of this earth can +discover the elements of which the great orb consists, and will +probably ere long ascertain all the conditions of its being. Nay, +the human mind can penetrate far beyond the sun. There is no +relation, therefore, between the faculties of man and the scale in +creation of the planet which he inhabits."</p> +<p>"I was glad to hear you assert the other night the spiritual +nature of man in opposition to Mr. Phoebus."</p> +<p>"Ah, Mr. Phoebus!" said the stranger, with a smile. "He is an +old acquaintance of mine. And I must say he is very +consistent--except in paying a visit to Jerusalem. That does +surprise me. He said to me the other night the same things as he +said to me at Rome many years ago. He would revive the worship of +Nature. The deities whom he so eloquently describes and so +exquisitely delineates are the ideal personifications of the most +eminent human qualities, and chiefly the physical. Physical beauty +is his standard of excellence, and he has a fanciful theory that +moral order would be the consequence of the worship of physical +beauty; for without moral order he holds physical beauty cannot be +maintained. But the answer to Mr. Phoebus is, that his system has +been tried and has failed, and under conditions more favorable than +are likely to exist again; the worship of Nature ended in the +degradation of the human race."</p> +<p>"But Mr. Phoebus cannot really believe in Apollo and Venus," +said Lothair. "These are phrases. He is, I suppose, what is called +a Pantheist."</p> +<p>"No doubt the Olympus of Mr. Phoebus is the creation of his +easel," replied the Syrian. "I should not, however, describe him as +a Pantheist, whose creed requires more abstraction than Mr. +Phoebus, the worshiper of Nature, would tolerate. His school never +care to pursue any investigation which cannot be followed by the +eye--and the worship of the beautiful always ends in an orgy. As +for Pantheism, it is Atheism in domino. The belief in a Creator who +is unconscious of creating is more monstrous than any dogma of any +of the churches in this city, and we have them all here."</p> +<p>"But there are people now who tell you that there never was any +creation, and therefore there never could have been a Creator," +said Lothair.</p> +<p>"And which is now advanced with the confidence of novelty," said +the Syrian, "though all of it has been urged, and vainly urged, +thousands of years ago. There must be design, or all we see would +be without sense, and I do not believe in the unmeaning. As for the +natural forces to which all creation is now attributed, we know +they are unconscious, while consciousness is as inevitable a +portion of our existence as the eye or the hand. The conscious +cannot be derived from the unconscious. Man is divine."</p> +<p>"I wish I could assure myself of the personality of the +Creator," said Lothair. "I cling to that, but they say it is +unphilosophical."</p> +<p>"In what sense?" asked the Syrian. "Is it more unphilosophical +to believe in a personal God, omnipotent and omniscient, than in +natural forces unconscious and irresistible? Is it unphilosophical +to combine power with intelligence? Goethe, a Spinozist who did not +believe in Spinoza, said that he could bring his mind to the +conception that in the centre of space we might meet with a monad +of pure intelligence. What may be the centre of space I leave to +the dædal imagination of the author of 'Faust'; but a monad +of pure intelligence--is that more philosophical than the truth +first revealed to man amid these everlasting hills," said the +Syrian, "that God made man in his own image?"</p> +<p>"I have often found in that assurance a source of sublime +consolation," said Lothair.</p> +<p>"It is the charter of the nobility of man," said the Syrian, +"one of the divine dogmas revealed in this land; not the invention +of councils, not one of which was held on this sacred soil, +confused assemblies first got together by the Greeks, and then by +barbarous nations in barbarous times."</p> +<p>"Yet the divine land no longer tells us divine things," said +Lothair.</p> +<p>"It may or may not have fulfilled its destiny," said the Syrian. +"'In my Father's house are many mansions,' and by the various +families of nations the designs of the Creator are accomplished. +God works by races, and one was appointed in due season and after +many developments to reveal and expound in this land the spiritual +nature of man. The Aryan and the Semite are of the same blood and +origin, but when they quitted their central land they were ordained +to follow opposite courses. Each division of the great race has +developed one portion of the double nature of humanity, till, after +all their wanderings, they met again, and, represented by their two +choicest families, the Hellenes and the Hebrews, brought together +the treasures of their accumulated wisdom, and secured the +civilization of man."</p> +<p>"Those among whom I have lived of late," said Lothair, "have +taught me to trust much in councils, and to believe that without +them there could be no foundation for the Church. I observe you do +not speak in that vein, though, like myself, you find solace in +those dogmas which recognize the relations between the created and +the Creator."</p> +<p>"There can be no religion without that recognition," said the +Syrian, "and no creed can possibly be devised without such a +recognition that would satisfy man. Why we are here, whence we +come, whither we go--these are questions which man is organically +framed and forced to ask himself, and that would not be the case if +they could not be answered. As for churches depending on councils, +the first council was held more than three centuries after the +Sermon on the Mount. We Syrians had churches in the interval; no +one can deny that. I bow before the divine decree that swept them +away from Antioch to Jerusalem, but I am not yet prepared to +transfer my spiritual allegiance to Italian popes and Greek +patriarchs. We believe that our family were among the first +followers of Jesus, and that we then held lands in Bashan which we +hold now. We had a gospel once in our district where there was some +allusion to this, and being written by neighbors, and probably at +the time, I dare say it was accurate; but the Western Churches +declared our gospel was not authentic, though why I cannot tell, +and they succeeded in extirpating it. It was not an additional +reason why we should enter into their fold. So I am content to +dwell in Galilee and trace the footsteps of my Divine Master, +musing over his life and pregnant sayings amid the mounts he +sanctified and the waters he loved so well."</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BEAUMARCHAIS"></a> +<h2>BEAUMARCHAIS</h2> +<h3>(1732-1799)</h3> +<center>BY BRANDER MATTHEWS</center> +<br> +<p class="par"><img src="images/letter-p.png" width="30%" alt= +""></p> +<p>ierre Augustin Caron was born in Paris, January 24th, 1732. He +was the son of a watchmaker, and learned his father's trade. He +invented a new escapement, and was allowed to call himself +"Clockmaker to the King"--Louis XV. At twenty-four he married a +widow, and took the name of Beaumarchais from a small fief +belonging to her. Within a year his wife died. Being a fine +musician, he was appointed instructor of the King's daughters; and +he was quick to turn to good account the influence thus acquired. +In 1764 he made a sudden trip to Spain to vindicate a sister of +his, who had been betrothed to a man called Clavijo and whom this +Spaniard had refused to marry. He succeeded in his mission, and his +own brilliant account of this characteristic episode in his career +suggested to Goethe the play of 'Clavigo.' Beaumarchais himself +brought back from Madrid a liking for things Spanish and a +knowledge of Iberian customs and character.</p> +<p class="rgt"><img src="images/image-227.png" width="45%" alt= +""><br> +<b>Beaumarchais.</b></p> +<p>He had been a watchmaker, a musician, a court official, a +speculator, and it was only when he was thirty-five that he turned +dramatist. Various French authors, Diderot especially, weary of +confinement to tragedy and comedy, the only two forms then admitted +on the French stage, were seeking a new dramatic formula in which +they might treat pathetic situations of modern life; and it is due +largely to their efforts that the modern "play" or "drama," the +story of every-day existence, has been evolved. The first dramatic +attempt of Beaumarchais was a drama called 'Eugénie,' acted +at the Théâtre Français in 1767, and succeeding +just enough to encourage him to try again. The second, 'The Two +Friends,' acted in 1770, was a frank failure. For the pathetic, +Beaumarchais had little aptitude; and these two serious efforts +were of use to him only so far as their performance may have helped +him to master the many technical difficulties of the theatre.</p> +<p>Beaumarchais had married a second time in 1768, and he had been +engaged in various speculations with the financier +Pâris-Duverney. In 1770 his wife died, and so did his +associate; and he found himself soon involved in lawsuits, into the +details of which it is needless to go, but in the course of which +he published a series of memoirs, or statements of his case for the +public at large. These memoirs are among the most vigorous of all +polemical writings; they were very clever and very witty; they were +vivacious and audacious; they were unfailingly interesting; and +they were read as eagerly as the 'Letters of Junius.' Personal at +first, the suits soon became political; and part of the public +approval given to the attack of Beaumarchais on judicial injustice +was due no doubt to the general discontent with the existing order +in France. His daring conduct of his own cause made him a +personality. He was intrusted with one secret mission by Louis XV; +and when Louis XVI came to the throne, he managed to get him again +employed confidentially.</p> +<p>Not long after his two attempts at the serious drama, he had +tried to turn to account his musical faculty by writing both the +book and the score of a comic opera, which had, however, been +rejected by the Comédie-Italienne (the predecessor of the +present Opéra Comique). After a while Beaumarchais cut out +his music and worked over his plot into a five-act comedy in prose, +'The Barber of Seville.' It was produced by the +Théâtre Français in 1775, and like the +contemporary 'Rivals' of Sheridan,--the one English author with +whom Beaumarchais must always be compared,--it was a failure on the +first night and a lasting success after the author had reduced it +and rearranged it. 'The Barber of Seville' was like the 'Gil Blas' +of Lesage in that, while it was seemingly Spanish in its scenes, it +was in reality essentially French. It contained one of the +strongest characters in literature,--Figaro, a reincarnation of the +intriguing servant of Menander and Plautus and Molière. +Simple in plot, ingenious in incident, brisk in dialogue, broadly +effective in character-drawing, 'The Barber of Seville' is the most +famous French comedy of the eighteenth century, with the single +exception of its successor from the same pen, which appeared nine +years later.</p> +<p>During those years Beaumarchais was not idle. Like Defoe, he was +always devising projects for money-making. A few months after 'The +Barber of Seville' had been acted, the American Revolution began, +and Beaumarchais was a chief agent in supplying the Americans with +arms, ammunition, and supplies. He had a cruiser of his own, Le +Fier Roderigue, which was in D'Estaing's fleet. When the +independence of the United States was recognized at last, +Beaumarchais had a pecuniary claim against the young nation which +long remained unsettled.</p> +<p>Not content with making war on his own account almost, +Beaumarchais also undertook the immense task of publishing a +complete edition of Voltaire. He also prepared a sequel to the +'Barber,' in which Figaro should be even more important, and should +serve as a mouthpiece for declamatory criticism of the social +order. But his 'Marriage of Figaro' was so full of the +revolutionary ferment that its performance was forbidden. Following +the example of Molière under the similar interdiction of +'Tartuffe,' Beaumarchais was untiring in arousing interest in his +unacted play, reading it himself in the houses of the great. +Finally it was authorized, and when the first performance took +place at the Théâtre Français in 1784, the +crush to see it was so great that three persons were stifled to +death. The new comedy was as amusing and as adroit as its +predecessor, and the hits at the times were sharper and swifter and +more frequent. How demoralized society was then may be gauged by +the fact that this disintegrating satire was soon acted by the +amateurs of the court, a chief character being impersonated by +Marie Antoinette herself.</p> +<p>The career of Beaumarchais reached its climax with the +production of the second of the Figaro plays. Afterward he wrote +the libretto for an opera, 'Tarare,' produced with Salieri's music +in 1787; the year before he had married for the third time. In a +heavy play called 'The Guilty Mother,' acted with slight success in +1790, he brought in Figaro yet once more. During the Terror he +emigrated to Holland, returning to Paris in 1796 to find his +sumptuous mansion despoiled. May 18th, 1799, he died, leaving a +fortune of $200,000, besides numerous claims against the French +nation and the United States.</p> +<p>An interesting parallel could be drawn between 'The Rivals' and +the 'School for Scandal' on the one side, and on the other 'The +Barber of Seville' and 'The Marriage of Figaro'; and there are also +piquant points of likeness between Sheridan and Beaumarchais. But +Sheridan, with all his failings, was of sterner stuff than +Beaumarchais. He had a loftier political morality, and he served +the State more loyally. Yet the two comedies of Beaumarchais are +like the two comedies of Sheridan in their incessant wit, in their +dramaturgic effectiveness, and in the histrionic opportunities they +afford. Indeed, the French comedies have had a wider audience than +the English, thanks to an Italian and a German,--to Rossini who set +'The Barber of Seville' to music, and to Mozart who did a like +service for 'The Marriage of Figaro.'</p> +<p class="sign"><img src="images/sign-229.png" width="60%" alt= +""></p> +<br> +<br> +<br> +<br> +<br> +<br> +<a name="BEAUMARCHAIS_01"></a> +<center><b>FROM 'THE BARBER OF SEVILLE'</b></center> +<br> +<center><b>OUTWITTING A GUARDIAN</b></center> +<br> +<p>[Rosina's lover, Count Almaviva, attempts to meet and converse +with her by hoodwinking Dr. Bartolo, her zealous guardian. He comes +in disguise to Bartolo's dwelling, in a room of which the scene is +laid.]</p> +<p>[<i>Enter Count Almaviva, dressed as a student</i>.]</p> +<p><i>Count [solemnly]</i>--May peace and joy abide here +evermore!</p> +<p><i>Bartolo [brusquely]</i>--Never, young sir, was wish more +àpropos! What do you want?</p> +<p><i>Count</i>--Sir, I am one Alonzo, a bachelor of arts--</p> +<p><i>Bartolo</i>--Sir, I need no instructor.</p> +<p><i>Count</i>---- ---- a pupil of Don Basilio, the organist of +the convent, who teaches music to Madame your--</p> +<p><i>Bartolo [suspiciously]</i>--Basilio! Organist! Yes, I know +him. Well?</p> +<p><i>Count [aside]</i>--What a man! <i>[Aloud.]</i> He's confined +to his bed with a sudden illness.</p> +<p><i>Bartolo</i>--Confined to his bed! Basilio! He's very good to +send word, for I've just seen him.</p> +<p><i>Count [aside]</i>--Oh, the devil! [<i>Aloud.</i>] When I say +to his bed, sir, it's--I mean to his room.</p> +<p><i>Bartolo</i>--Whatever's the matter with him, go, if you +please.</p> +<p><i>Count [embarrassed]</i>--Sir, I was asked--Can no one hear +us?</p> +<p><i>Bartolo [aside]</i>--It's some rogue! <i>[Aloud.]</i> What's +that? No, Monsieur Mysterious, no one can hear! Speak frankly--if +you can.</p> +<p><i>Count [aside]</i>--Plague take the old rascal! +<i>[Aloud.]</i> Don Basilio asked me to tell you--</p> +<p><i>Bartolo</i>--Speak louder. I'm deaf in one ear.</p> +<p><i>Count [raising his voice</i>]--Ah! quite right: he asks me to +say to you that one Count Almaviva, who was lodging on the great +square--</p> +<p><i>Bartolo [frightened]</i>--Speak low, speak low.</p> +<p><i>Count [louder]</i>----moved away from there this morning. As +it was I who told him that this Count Almaviva--</p> +<p><i>Bartolo</i>--Low, speak lower, I beg of you.</p> +<p><i>Count [in the same tone</i>]--Was in this city, and as I have +discovered that Señorita Rosina has been writing to +him--</p> +<p><i>Bartolo</i>--Has been writing to him? My dear friend, I +implore you, <i>do</i> speak low! Come, let's sit down, let's have +a friendly chat. You have discovered, you say, that Rosina--</p> +<p><i>Count</i> [<i>angrily</i>]--Certainly. Basilio, anxious about +this correspondence on your account, asked me to show you her +letter; but the way you take things--</p> +<p><i>Bartolo</i>--Good Lord! I take them well enough. But can't +you possibly speak a little lower?</p> +<p><i>Count</i>--You told me you were deaf in one ear.</p> +<p><i>Bartolo</i>--I beg your pardon, I beg your pardon, if I've +been surly and suspicious, Signor Alonzo: I'm surrounded with +spies--and then your figure, your age, your whole air--I beg your +pardon. Well? Have you the letter?</p> +<p><i>Count</i>--I'm glad you're barely civil at last, sir. But are +you quite sure no one can overhear us?</p> +<p><i>Bartolo</i>--Not a soul. My servants are all tired out. +Señorita Rosina has shut herself up in a rage! The very +devil's to pay in this house. Still I'll go and make sure. [<i>He +goes to peep into Rosina's room</i>.]</p> +<p><i>Count</i> [<i>aside</i>]--Well, I've caught myself now in my +own trap. Now what shall I do about the letter? If I were to run +off?--but then I might just as well not have come. Shall I show it +to him? If I could only warn Rosina beforehand! To show it would be +a master-stroke.</p> +<p><i>Bartolo</i> [<i>returning on tiptoe</i>]--She's sitting by +the window with her back to the door, and re-reading a cousin's +letter which I opened. Now, now--let me see hers.</p> +<p><i>Count</i> [<i>handing him Rosina's letter</i>]--Here it is. +[<i>Aside.</i>] She's re-reading <i>my</i> letter.</p> +<p><i>Bartolo</i> [<i>reads quickly</i>]--"Since you have told me +your name and estate--" Ah, the little traitress! Yes, it's her +writing.</p> +<p><i>Count</i> [<i>frightened</i>]--Speak low yourself, won't +you?</p> +<p><i>Bartolo</i>--What for, if you please?</p> +<p><i>Count</i>--When we've finished, you can do as you choose. But +after all, Don Basilio's negotiation with a lawyer--</p> +<p><i>Bartolo</i>--With a lawyer? About my marriage?</p> +<p><i>Count</i>--Would I have stopped you for anything else? He +told me to say that all can be ready to-morrow. Then, if she +resists--</p> +<p><i>Bartolo</i>--She will.</p> +<p><i>Count</i> [<i>wants to take back the letter; Bartolo clutches +it</i>]--I'll tell you what we'll do. We will show her her letter; +and then, if necessary, [<i>more mysteriously</i>] I'll even tell +her that it was given to me by a woman--to whom the Count is +sacrificing her. Shame and rage may bring her to terms on the +spot.</p> +<p><i>Bartolo</i> [<i>laughing</i>]--Calumny, eh? My dear fellow, I +see very well now that you come from Basilio. But lest we should +seem to have planned this together, don't you think it would be +better if she'd met you before?</p> +<p><i>Count</i> [<i>repressing a start of joy</i>]--Don Basilio +thought so, I know. But how can we manage it? It is late already. +There's not much time left.</p> +<p><i>Bartolo</i>--I will tell her you've come in his place. +Couldn't you give her a lesson?</p> +<p><i>Count</i>--I'll do anything you like. But take care she +doesn't suspect. All these dodges of pretended masters are rather +old and theatrical.</p> +<p><i>Bartolo</i>--She won't suspect if I introduce you. But how +you do look! You've much more the air of a disguised lover than of +a zealous student-friend.</p> +<p><i>Count</i>--Really? Don't you think I can hoodwink her all the +better for that?</p> +<p><i>Bartolo</i>--She'll never guess. She's in a horrible temper +this evening. But if she'll only see you--Her harpsichord is in +this room. Amuse yourself while you're waiting. I'll do all I can +to bring her here.</p> +<p><i>Count</i>--Don't say a word about the letter.</p> +<p><i>Bartolo</i>--Before the right moment? It would lose all +effect if I did. It's not necessary to tell me things twice; it's +not necessary to tell me things twice. [<i>He goes.</i>]</p> +<p><i>Count</i> [<i>alone, soliloquizes</i>]--At last I've won! +Ouf! What a difficult little old imp he is! Figaro understands him. +I found myself lying, and that made me awkward; and he has eyes for +everything! On my honor, if the letter hadn't inspired me he'd have +thought me a fool!--Ah, how they are disputing in there!--What if +she refuses to come? Listen--If she won't, my coming is all thrown +away. There she is: I won't show myself at first.</p> +<p>[<i>Rosina enters</i>.]</p> +<p><i>Rosina</i> [<i>angrily</i>]--There's no use talking about it, +sir. I've made up my mind. I don't want to hear anything more about +music.</p> +<p><i>Bartolo</i>--But, my child, do listen! It is Señor +Alonzo, the friend and pupil of Don Basilio, whom he has chosen as +one of our marriage witnesses. I'm sure that music will calm +you.</p> +<p><i>Rosina</i>--Oh! you needn't concern yourself about that; and +as for singing this evening--Where is this master you're so afraid +of dismissing? I'll settle him in a minute--and Señor +Basilio too. [<i>She sees her lover and exclaims</i>:] Ah!</p> +<p><i>Bartolo</i>--Eh, eh, what is the matter?</p> +<p><i>Rosina</i> [<i>pressing her hands to her heart</i>]--Ah, sir! +Ah, sir!</p> +<p><i>Bartolo</i>--She is ill again! Señor Alonzo!</p> +<p><i>Rosina</i>--No, I am not ill--but as I was turning--ah!</p> +<p><i>Count</i>--Did you sprain your foot, Madame?</p> +<p><i>Rosina</i>--Yes, yes, I sprained my foot! I--hurt myself +dreadfully.</p> +<p><i>Count</i>--So I perceived.</p> +<p><i>Rosina</i> [<i>looking at the Count</i>]--The pain really +makes me feel faint.</p> +<p><i>Bartolo</i>--A chair--a chair there! And not a single chair +here! [<i>He goes to get one</i>.]</p> +<p><i>Count</i>--Ah, Rosina!</p> +<p><i>Rosina</i>--What imprudence!</p> +<p><i>Count</i>--There are a hundred things I must say to you.</p> +<p><i>Rosina</i>--He won't leave us alone.</p> +<p><i>Count</i>--Figaro will help us.</p> +<p><i>Bartolo</i> [<i>bringing an arm-chair</i>]--Wait a minute, my +child. Sit down here. She can't take a lesson this evening, +Señor: you must postpone it. Good-by.</p> +<p><i>Rosina</i> [<i>to the Count</i>]--No, wait; my pain is +better. [<i>To Bartolo</i>.] I feel that I've acted foolishly! I'll +imitate you, and atone at once by taking my lesson.</p> +<p><i>Bartolo</i>--Oh! Such a kind little woman at heart! But after +so much excitement, my child, I can't let you make any exertion. So +good-bye, Señor, good-bye.</p> +<p><i>Rosina</i> [<i>to the Count</i>]--Do wait a minute! [<i>To +Bartolo</i>.] I shall think that you don't care to please me if you +won't let me show my regret by taking my lesson.</p> +<p><i>Count</i> [<i>aside to Bartolo</i>]--I wouldn't oppose her, +if I were you.</p> +<p><i>Bartolo</i>--That settles it, my love: I am so anxious to +please you that I shall stay here all the time you are +practicing.</p> +<p><i>Rosina</i>--No, don't. I know you don't care for music.</p> +<p><i>Bartolo</i>--It <i>will</i> charm me this evening, I'm +sure.</p> +<p><i>Rosina [aside to the Count</i>]--I'm tormented to death!</p> +<p><i>Count [taking a sheet of music from the stand</i>]--Will you +sing this, Madame?</p> +<p><i>Rosina</i>--Yes, indeed--it's a very pretty thing out of the +opera 'The Useless Precaution.'</p> +<p><i>Bartolo</i>--Why do you <i>always</i> sing from 'The Useless +Precaution'?</p> +<p><i>Count</i>--There is nothing newer! It's a picture of spring +in a very bright style. So if Madame wants to try it--</p> +<p><i>Rosina [looking at the Count</i>]--With pleasure. A picture +of spring is delightful! It is the youth of nature. It seems as if +the heart always feels more when winter's just over. It's like a +slave who finds liberty all the more charming after a long +confinement.</p> +<p><i>Bartolo [to the Count</i>]--Always romantic ideas in her +head!</p> +<p><i>Count [in a low tone</i>]--Did you notice the +application?</p> +<p><i>Bartolo</i>--Zounds!</p> +<p><i>[He sits down in the chair which Rosina has been occupying. +Rosina sings, during which Bartolo goes to sleep. Under cover of +the refrain the Count seizes Rosina's hand and covers it with +kisses. In her emotion she sings brokenly, and finally breaks off +altogether. The sudden silence awakens Bartolo. The Count starts +up, and Rosina quickly resumes her song</i>.]</p> +<hr style="width: 25%;"> +<p><i>[Don Basilio enters. Figaro in background</i>.]</p> +<p><i>Rosina [startled, to herself</i>]--Don Basilio!</p> +<p><i>Count [aside]</i>--Good Heaven!</p> +<p><i>Figaro</i>--The devil!</p> +<p><i>Bartolo [going to meet him</i>]--Ah! welcome, Basilio. So +your accident was not very serious? Alonzo quite alarmed me about +you. He will tell you that I was just going to see you, and if he +had not detained me--</p> +<p><i>Basilio [in astonishment</i>]--Señor Alonzo?</p> +<p><i>Figaro [stamping his foot</i>]--Well, well! How long must I +wait? Two hours wasted already over your beard--Miserable +business!</p> +<p><i>Basilio [looking at every one in amazement</i>]--But, +gentlemen, will you please tell me--</p> +<p><i>Figaro</i>--You can talk to him after I've gone.</p> +<p><i>Basilio</i>--But still, would--</p> +<p><i>Count</i>--You'd better be quiet, Basilio. Do you think you +can inform him of anything new? I've told him that you sent me for +the music lesson instead of coming himself.</p> +<p><i>Basilio [still more astonished]</i>--The music lesson! +Alonzo!</p> +<p><i>Rosina [aside to Basilio]--Do</i> hold your tongue, can't +you?</p> +<p><i>Basilio</i>--She, too!</p> +<p><i>Count [to Bartolo]</i>--Let him know what you and I have +agreed upon.</p> +<p><i>Bartolo [aside to Basilio]</i>--Don't contradict, and say +that he is not your pupil, or you will spoil everything.</p> +<p><i>Basilio</i>--Ah! Ah!</p> +<p><i>Bartolo [aloud]</i>--Indeed, Basilio, your pupil has a great +deal of talent.</p> +<p><i>Basilio [stupefied]</i>--My pupil! [<i>In a low tone</i>.] I +came to tell you that the Count has moved.</p> +<p><i>Bartolo [low]</i>--I know it. Hush.</p> +<p><i>Basilio [low]</i>--Who told you?</p> +<p><i>Bartolo [low]</i>--He did, of course.</p> +<p><i>Count [low]</i>--It was I, naturally. Just listen, won't +you?</p> +<p><i>Rosina [low to Basilio]</i>--Is it so hard to keep still?</p> +<p><i>Figaro [low to Basilio]</i>--Hum! The sharper! He is +deaf!</p> +<p><i>Basilio [aside]</i>--Who the devil are they trying to deceive +here? Everybody seems to be in it!</p> +<p><i>Bartolo [aloud]</i>--Well, Basilio--about your lawyer--?</p> +<p><i>Figaro</i>--You have the whole evening to talk about the +lawyer.</p> +<p><i>Bartolo [to Basilio]</i>--One word; only tell me if you are +satisfied with the lawyer.</p> +<p><i>Basilio [startled]</i>--With the lawyer?</p> +<p><i>Count [smiling]</i>--Haven't you seen the lawyer?</p> +<p><i>Basilio [impatient]</i>--Eh? No, I haven't seen the +lawyer.</p> +<p><i>Count [aside to Bartolo]</i>--Do you want him to explain +matters before her? Send him away.</p> +<p><i>Bartolo [low to the Count]</i>--You are right. [<i>To +Basilio</i>.] But what made you ill, all of a sudden?</p> +<p><i>Basilio [angrily]</i>--I don't understand you.</p> +<p><i>Count [secretly slipping a purse into his hands]</i>--Yes: he +wants to know what you are doing here, when you are so far from +well?</p> +<p><i>Figaro</i>--He's as pale as a ghost!</p> +<p><i>Basilio</i>--Ah! I understand.</p> +<p><i>Count</i>--Go to bed, dear Basilio. You are not at all well, +and you make us all anxious. Go to bed.</p> +<p><i>Figaro</i>--He looks quite upset. Go to bed.</p> +<p><i>Bartolo</i>--I'm sure he seems feverish. Go to bed.</p> +<p><i>Rosina</i>--Why did you come out? They say that it's +catching. Go to bed.</p> +<p><i>Basilio [in the greatest amazement]</i>--I'm to go to +bed!</p> +<p><i>All the others together</i>--Yes, you must.</p> +<p><i>Basilio [looking at them all]</i>--Indeed, I think I will +have to withdraw. I don't feel quite as well as usual.</p> +<p><i>Bartolo</i>--We'll look for you to-morrow, if you are +better.</p> +<p><i>Count</i>--I'll see you soon, Basilio.</p> +<p><i>Basilio [aside]</i>--Devil take it if I understand all this! +And if it weren't for this purse--</p> +<p><i>All</i>--Good-night, Basilio, good-night.</p> +<p><i>Basilio [going]</i>--Very well, then; good-night, +<i>good-night</i>.</p> +<p>[<i>The others, all laughing, push him civilly out of the +room</i>.]</p> +<br> +<a name="BEAUMARCHAIS_02"></a> +<center><b>FROM 'THE MARRIAGE OF FIGARO'</b></center> +<br> +<center>OUTWITTING A HUSBAND</center> +<br> +<p>[The scene is the boudoir of young Countess Almaviva, the Rosina +of the previous selection. She is seated alone, when her clever +maid Susanna ushers in the young page Cherubino, just banished from +the house because obnoxious to the jealous Count.]</p> +<p><i>Susanna</i>--Here's our young Captain, Madame.</p> +<p><i>Cherubino [timidly]</i>--The title is a sad reminder +that--that I must leave this delightful home and the godmother who +has been so kind--</p> +<p><i>Susanna--And</i> so beautiful!</p> +<p><i>Cherubino [sighing]</i>--Ah, yes!</p> +<p><i>Susanna [mocking his sigh]</i>--Ah, yes! Just look at his +hypocritical eyelids! Madame, make him sing his new song. [<i>She +gives it to him</i>.] Come now, my beautiful bluebird, sing +away.</p> +<p><i>Countess</i>--Does the manuscript say who wrote +this--song?</p> +<p><i>Susanna</i>--The blushes of guilt betray him.</p> +<p><i>Cherubino</i>--Madame, I--I--tremble so.</p> +<p><i>Susanna</i>--Ta, ta, ta, ta--! Come, modest author--since you +are so commanded. Madame, I'll accompany him.</p> +<p><i>Countess [to Susanna]</i>--Take my guitar.</p> +<p><i>[Cherubino sings his ballad to the air of 'Malbrouck.' The +Countess reads the words of it from his manuscript, with an +occasional glance at him; he sometimes looks at her and sometimes +lowers his eyes as he sings. Susanna, accompanying him, watches +them both, laughing.]</i></p> +<p><i>Countess [folding the song]</i>--Enough, my boy. Thank you. +It is very good--full of feeling--</p> +<p><i>Susanna</i>--Ah! as for feeling--this is a young man +who--well!</p> +<p><i>[Cherubino tries to stop her by catching hold of her dress. +Susanna whispers to him]</i>--Ah, you good-for-nothing! I'm going +to tell her. <i>[Aloud.]</i> Well--Captain! We'll amuse ourselves +by seeing how you look in one of my dresses!</p> +<p><i>Countess</i>--Susanna, how <i>can</i> you go on so?</p> +<p><i>Susanna [going up to Cherubino and measuring herself with +him]</i>--He's just the right height. Off with your coat. <i>[She +draws it off.]</i></p> +<p><i>Countess</i>--But what if some one should come?</p> +<p><i>Susanna</i>--What if they do? We're doing no wrong. But I'll +lock the door, just the same. <i>[Locks it.]</i> I want to see him +in a woman's head-dress!</p> +<p><i>Countess</i>--Well, you'll find my little cap in my +dressing-room on the toilet table.</p> +<p><i>[Susanna gets the cap, and then, sitting down on a stool, she +makes Cherubino kneel before her and arranges it on his +hair.]</i></p> +<p><i>Susanna</i>--Goodness, isn't he a pretty girl? I'm jealous. +Cherubino, you're altogether <i>too</i> pretty.</p> +<p><i>Countess</i>--Undo his collar a little; that will give a more +feminine air. [<i>Susanna loosens his collar so as to show his +neck</i>.] Now push up his sleeves, so that the under ones show +more. [<i>While Susanna rolls up Cherubino's sleeves, the Countess +notices her lost ribbon around his wrist</i>.] What is that? My +ribbon?</p> +<p><i>Susanna</i>--Ah! I'm very glad you've seen it, for I told him +I should tell. I should certainly have taken it away from him if +the Count hadn't come just then; for I am almost as strong as he +is.</p> +<p><i>Countess [with surprise, unrolling the ribbon]</i>--There's +blood on it!</p> +<p><i>Cherubino</i>--Yes, I was tightening the curb of my horse +this morning, he curvetted and gave me a push with his head, and +the bridle stud grazed my arm.</p> +<p><i>Countess</i>--I never saw a ribbon used as a bandage +before.</p> +<p><i>Susanna</i>--Especially a <i>stolen</i> ribbon. What may all +those things be--the curb, the curvetting, the bridle stud? +[<i>Glances at his arms</i>.] What white arms he has! just like a +woman's. Madame, they are whiter than mine.</p> +<p><i>Countess</i>--Never mind that, but run and find me some oiled +silk.</p> +<p>[<i>Susanna goes out, after humorously pushing Cherubino over so +that he falls forward on his hands. He and the Countess look at +each other for some time; then she breaks the silence</i>.]</p> +<p><i>Countess</i>--I hope you are plucky enough. Don't show +yourself before the Count again to-day. We'll tell him to hurry up +your commission in his regiment.</p> +<p><i>Cherubino</i>--I already have it, Madame. Basilio brought it +to me. [<i>He draws the commission from his pocket and hands it to +her</i>.]</p> +<p><i>Countess</i>--Already! They haven't lost any time. [<i>She +opens it.</i>] Oh, in their hurry they've forgotten to add the seal +to it.</p> +<p><i>Susanna [returning with the oiled silk]</i>--Seal what?</p> +<p><i>Countess</i>--His commission in the regiment.</p> +<p><i>Susanna</i>--Already?</p> +<p><i>Countess</i>--That's what I said.</p> +<p><i>Susanna</i>--And the bandage?</p> +<p><i>Countess</i>--Oh, when you are getting my things, take a +ribbon from one of <i>your</i> caps. [<i>Susanna goes out +again</i>]</p> +<p><i>Countess</i>--This ribbon is of my favorite color. I must +tell you I was greatly displeased at your taking it.</p> +<p><i>Cherubino</i>--That one would heal me quickest.</p> +<p><i>Countess</i>--And--why so?</p> +<p><i>Cherubino</i>--When a ribbon--has pressed the head, +and--touched the skin of one--</p> +<p><i>Countess [hastily]</i>--Very strange--then it can cure +wounds? I never heard that before. I shall certainly try it on the +first wound of any of--my maids--</p> +<p><i>Cherubino [sadly]</i>--I must go away from here!</p> +<p><i>Countess</i>--But not for always? [<i>Cherubino begins to +weep.</i>] And now you are crying! At that prediction of +Figaro?</p> +<p><i>Cherubino</i>--I'm just where he said I'd be. [<i>Some one +knocks on the door</i>].</p> +<p><i>Countess</i>--Who can be knocking like that?</p> +<p><i>The Count [outside]</i>--Open the door!</p> +<p><i>Countess</i>--Heavens! It's my husband. Where can you +hide?</p> +<p><i>The Count [outside]</i>--Open the door, I say.</p> +<p><i>Countess</i>--There's no one here, you see.</p> +<p><i>The Count</i>--But who are you talking to then?</p> +<p><i>Countess</i>--To you, I suppose. [<i>To Cherubino.</i>] Hide +yourself, quick--in the dressing-room!</p> +<p><i>Cherubino</i>--Ah, after this morning, he'd kill me if he +found me <i>here</i>.</p> +<p>[<i>He runs into the dressing-room on the right, which is also +Susanna's room; the Countess, after locking him in and taking the +key, admits the Count.</i>]</p> +<p><i>Count</i>--You don't usually lock yourself in, Madame.</p> +<p><i>Countess</i>--I--I--was gossiping with Susanna. She's gone. +[<i>Pointing to her maid's room.</i>]</p> +<p><i>Count</i>--And you seem very much agitated, Madame.</p> +<p><i>Countess</i>--Not at all, I assure you! We were talking about +you. She's just gone--as I told you.</p> +<p><i>Count</i>--I must say, Madame, you and I seem to be +surrounded by spiteful people. Just as I'm starting for a ride, I'm +handed a note which informs me that a certain person whom I suppose +far enough away is to visit you this evening.</p> +<p><i>Countess</i>--The bold fellow, whoever he is, will have to +come here, then; for I don't intend to leave my room to-day.</p> +<p>[<i>Something falls heavily in the dressing-room where Cherubino +is.</i>]</p> +<p><i>Count</i>--Ah, Madame, something dropped just then!</p> +<p><i>Countess</i>--I didn't hear anything.</p> +<p><i>Count</i>--You must be very absent-minded, then. Somebody is +in that room!</p> +<p><i>Countess</i>--Who do you think could be there?</p> +<p><i>Count</i>--Madame, that is what I'm asking <i>you</i>. I have +just come in.</p> +<p><i>Countess</i>--Probably it's Susanna wandering about.</p> +<p><i>Count [pointing]</i>--But you just told me that she went that +way.</p> +<p><i>Countess</i>--This way or that--I don't know which.</p> +<p><i>Count</i>--Very well, Madame, I must see her.--Come here, +Susanna.</p> +<p><i>Countess</i>--She cannot. Pray wait! She's but half dressed. +She's trying on things that I've given her for her wedding.</p> +<p><i>Count</i>--Dressed or not, I wish to see her at once.</p> +<p><i>Countess</i>--I can't prevent your doing so anywhere else, +but here--</p> +<p><i>Count</i>--You may say what you choose--I <i>will</i> see +her.</p> +<p><i>Countess</i>--I thoroughly believe you'd like to see her in +that state! but--</p> +<p><i>Count</i>--Very well, Madame. If Susanna can't come out, at +least she can talk. [<i>Turning toward the dressing-room.</i>] +Susanna, are you there? Answer, I command you.</p> +<p><i>Countess</i> [<i>peremptorily</i>]--Don't answer, Susanna! I +forbid you! Sir, how can you be such a petty tyrant? Fine +suspicions, indeed!</p> +<p>[<i>Susanna slips by and hides behind the Countess's bed without +being noticed either by her or by the Count.</i>]</p> +<p><i>Count</i>--They are all the easier to dispel. I can see that +it would be useless to ask you for the key, but it's easy enough to +break in the door. Here, somebody!</p> +<p><i>Countess</i>--Will you really make yourself the +laughing-stock of the chateau for such a silly suspicion?</p> +<p><i>Count</i>--- You are quite right. I shall simply force the +door myself. I am going for tools.</p> +<p><i>Countess</i>--Sir, if your conduct were prompted by love, I'd +forgive your jealousy for the sake of the motive. But its cause is +only your vanity.</p> +<p><i>Count</i>--Love <i>or</i> vanity, Madame, I mean to know who +is in that room! And to guard against any tricks, I am going to +lock the door to your maid's room. You, Madame, will kindly come +with me, and without any noise, if you please. [<i>He leads her +away.</i>] As for the Susanna in the dressing-room, she will please +wait a few minutes.</p> +<p><i>Countess</i> [<i>going out with him</i>]--Sir, I assure +you--</p> +<p><i>Susanna</i> [<i>coming out from behind the bed and running to +the dressing-room</i>]--Cherubino! Open quick! It's Susanna. +[<i>Cherubino hurries out of the dressing-room.</i>] Escape--you +haven't a minute to lose!</p> +<p><i>Cherubino</i>--Where can I go?</p> +<p><i>Susanna</i>--I don't know, I don't know at all! but do go +somewhere!</p> +<p><i>Cherubino</i> [<i>running to the window, then coming +back</i>]--The window isn't so very high.</p> +<p><i>Susanna</i> [<i>frightened and holding him back</i>]--He'll +kill himself!</p> +<p><i>Cherubino</i>--Ah, Susie, I'd rather jump into a gulf than +put the Countess in danger. [<i>He snatches a kiss, then runs to +the window, hesitates, and finally jumps down into the +garden.</i>]</p> +<p><i>Susanna</i>--Ah! [<i>She falls fainting into an arm-chair. +Recovering slowly, she rises, and seeing Cherubino running through +the garden she comes forward panting.</i>] He's far away already! +... Little scamp! as nimble as he is handsome! [<i>She next runs to +the dressing-room.</i>] Now, Count Almaviva, knock as hard as you +like, break down the door. Plague take me if I answer you. [<i>Goes +into the dressing-room and shuts the door.</i>]</p> +<blockquote>[<i>Count and Countess return.</i>]</blockquote> +<p><i>Count</i>--Now, Madame, consider well before you drive me to +extremes.</p> +<p><i>Countess</i>--I--I beg of you--!</p> +<p><i>Count</i> [<i>preparing to burst open the door</i>]--You +can't cajole me now.</p> +<p><i>Countess</i> [<i>throwing herself on her knees</i>]--Then I +will open it! Here is the key.</p> +<p><i>Count</i>--So it is <i>not</i> Susanna?</p> +<p><i>Countess</i>--No, but it's no one who should offend you.</p> +<p><i>Count</i>--If it's a man I kill him! Unworthy wife! You wish +to stay shut up in your room--you shall stay in it long enough, I +promise you. <i>Now</i> I understand the note--my suspicions are +justified!</p> +<p><i>Countess</i>--Will you listen to me one minute?</p> +<p><i>Count</i>--Who is in that room?</p> +<p><i>Countess</i>--Your page.</p> +<p><i>Count</i>--Cherubino! The little scoundrel!--just let me +catch him! I don't wonder you were so agitated.</p> +<p><i>Countess</i>--I--I assure you we were only planning an +innocent joke.</p> +<p>[<i>The Count snatches the key, and goes to the dressing-room +door; the Countess throws herself at his feet.</i>]</p> +<p><i>Countess</i>--Have mercy, Count! Spare this poor child; and +although the disorder in which you will find him--</p> +<p><i>Count</i>--What, Madame? What do you mean? What disorder?</p> +<p><i>Countess</i>--He was just changing his coat--his neck and +arms are bare--</p> +<p>[<i>The Countess throws herself into a chair and turns away her +head.</i>]</p> +<p><i>Count</i> [<i>running to the dressing-room</i>]--Come out +here, you young villain!</p> +<p><i>Count</i> [<i>seeing Susanna come out of the +dressing-room</i>]--Eh! Why, it <i>is</i> Susanna! [<i>Aside.</i>] +What, a lesson!</p> +<p><i>Susanna</i> [<i>mocking him</i>]--"I will kill him! I will +kill him!" Well, then, why don't you kill this mischievous +page?</p> +<p><i>Count</i> [<i>to the Countess, who at the sight of Susanna +shows the greatest surprise</i>]--So <i>you</i> also play +astonishment, Madame?</p> +<p><i>Countess</i>--Why shouldn't I?</p> +<p><i>Count</i>--But perhaps she wasn't alone in there. I'll find +out. [<i>He goes into the dressing-room.</i>]</p> +<p><i>Countess</i>--- Susanna, I'm nearly dead.</p> +<p><i>Count</i> [<i>aside, as he returns</i>]--No one there! So +this time I really am wrong. [<i>To the Countess, coldly.</i>] You +excel at comedy, Madame.</p> +<p><i>Susanna</i>--And what about me, sir?</p> +<p><i>Count</i>--And so do you.</p> +<p><i>Countess</i>--Aren't you glad you found her instead of +Cherubino? [<i>Meaningly.</i>] You are generally pleased to come +across her.</p> +<p><i>Susanna</i>--Madame ought to have let you break in the doors, +call the servants--</p> +<p><i>Count</i>--Yes, it's quite true--I'm at fault--I'm humiliated +enough! But why didn't you answer, you cruel girl, when I called +you?</p> +<p><i>Susanna</i>--I was dressing as well as I could--with the aid +of pins, and Madame knew why she forbade me to answer. She had her +lessons.</p> +<p><i>Count</i>--Why don't you help me get pardon, instead of +making me out as bad as you can?</p> +<p><i>Countess</i>--Did I marry you to be eternally subjected to +jealousy and neglect? I mean to join the Ursulines, and--</p> +<p><i>Count</i>--But, Rosina!</p> +<p><i>Countess</i>--I am no longer the Rosina whom you loved so +well. I am only poor Countess Almaviva, deserted wife of a madly +jealous husband.</p> +<p><i>Count</i>--I assure you, Rosina, this man, this letter, had +excited me so--</p> +<p><i>Countess</i>--I never gave my consent.</p> +<p><i>Count</i>--What, you knew about it?</p> +<p><i>Countess</i>--This rattlepate Figaro, without my +sanction--</p> +<p><i>Count</i>--He did it, eh! and Basilio pretended that a +peasant brought it. Crafty wag, ready to impose on everybody!</p> +<p><i>Countess</i>--You beg pardon, but you never grant pardon. If +I grant it, it shall only be on condition of a general amnesty.</p> +<p><i>Count</i>--Well, then, so be it. I agree. But I don't +understand how your sex can adapt itself to circumstances so +quickly and so nicely. You were certainly much agitated; and for +that matter, you are yet.</p> +<p><i>Countess</i>--Men aren't sharp enough to distinguish between +honest indignation at unjust suspicion, and the confusion of +guilt.</p> +<p><i>Count</i>--We men think we know something of politics, but we +are only children. Madame, the King ought to name you his +ambassador to London.--And now pray forget this unfortunate +business, so humiliating for me.</p> +<p><i>Countess</i>--For us both.</p> +<p><i>Count</i>--Won't you tell me again that you forgive me?</p> +<p><i>Countess</i>--Have I said <i>that</i>, Susanna?</p> +<p><i>Count</i>--Ah, say it now.</p> +<p><i>Countess</i>--Do you deserve it, culprit?</p> +<p><i>Count</i>--Yes, honestly, for my repentance.</p> +<p><i>Countess [giving him her hand</i>]--How weak I am! What an +example I set you, Susanna! He'll never believe in a woman's +anger.</p> +<p><i>Susanna</i>--You are prisoner on parole; and you shall see we +are honorable.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BEAUMONT"></a> +<h2>FRANCIS BEAUMONT and JOHN FLETCHER</h2> +<h3>(1584-1616) + +(1579-1625)</h3> +<br> +<p class="par"><img src="images/letter-t.png" width="30%" alt= +""></p> +<p>he names of Beaumont and Fletcher," says Lowell, in his lectures +on 'Old English Dramatists,' "are as inseparably linked together as +those of Castor and Pollux. They are the double star of our +poetical firmament, and their beams are so indissolubly mingled +that it is vain to attempt any division of them that shall assign +to each his rightful share." Theirs was not that dramatic +collaboration all too common among the lesser Elizabethan +dramatists, at a time when managers, eager to satisfy a restless +public incessantly clamoring for novelty, parceled out single acts +or even scenes of a play among two or three playwrights, to put +together a more or less congruous piece of work. Beaumont and +Fletcher joined partnership, not from any outward necessity, but +inspired by a common love of their art and true congeniality of +mind. Unlike many of their brother dramatists, whom the necessities +of a lowly origin drove to seek a livelihood in writing for the +theatres, Beaumont and Fletcher were of gentle birth, and sprung +from families eminent at the bar and in the Church.</p> +<p class="lft"><img src="images/image-244.png" width="45%" alt= +""><br> +<b>Francis Beaumont.</b></p> +<p>Beaumont was born at Grace-Dieu in Leicestershire, 1584, the son +of a chief justice. His name is first mentioned as a gentleman +commoner at Broadgate Hall, now Pembroke College, Oxford. At +sixteen he was entered a member of the Inner Temple, but the dry +facts of the law did not appeal to his romantic imagination. +Nowhere in his work does he draw upon his barrister's experience to +the extent that makes the plays of Middleton, who also knew the +Inner Temple at first hand, a storehouse of information in things +legal. His feet soon strayed, therefore, into the more congenial +fields of dramatic invention.</p> +<p>Fletcher was born in Rye, Sussex, the son of a minister who +later became Bishop of London. Giles Fletcher the Younger, and +Phineas Fletcher, both well-known poets in their day, were his +cousins. His early life is as little known as that of Beaumont, and +indeed as the lives of most of the other Elizabethan dramatists. He +was a pensioner at Benet College, now Corpus Christi, Cambridge, in +1591, and in 1593 he was "Bible-clerk" there. Then we hear nothing +of him until 'The Woman Hater' was brought out in 1607. The play +has been ascribed to Beaumont alone, to Fletcher alone, and to the +two jointly. Whoever may be the author, it is the firstling of his +dramatic muse, and worth merely a passing mention. How or when +their literary friendship began is not known; but since both were +friends of Jonson, both prefixing commendatory verses to the great +realist's play of 'The Fox,' it is fair to assume that through him +they were brought together, and that both belonged to that +brilliant circle of wits, poets, and dramatists who made famous the +gatherings at the Mermaid Inn.</p> +<p>They lived in the closest intimacy on the Bankside, near the +Globe Theatre in Southwark, sharing everything in common, even the +bed, and some say their clothing,--which is likely enough, as it +can be paralleled without going back three centuries. It is certain +that the more affluent circumstances of Beaumont tided his less +fortunate friend over many a difficulty; and the astonishing +dramatic productivity of Fletcher's later period was probably due +to Beaumont's untimely death, making it necessary for Fletcher to +rely on his pen for support.</p> +<p>In 1613 Beaumont's marriage to a Kentish heiress put an end to +the communistic bachelor establishment. He died March 6th, 1616, +not quite six weeks before Shakespeare, and was buried in +Westminster Abbey. Fletcher survived him nine years, dying of the +plague in 1625. He was buried, not by the side of the poet with +whose name his own is forever linked, but at St. Saviour's, +Southwark.</p> +<p>"A student of physiognomy," says Swinburne, "will not fail to +mark the points of likeness and of difference between the faces of +the two friends; both models of noble manhood.... Beaumont the +statelier and serener of the two, with clear, thoughtful eyes, full +arched brows, and strong aquiline nose, with a little cleft at the +tip; a grave and beautiful mouth, with full and finely curved lips; +the form of face a very pure oval, and the imperial head, with its +'fair large front' and clustering hair, set firm and carried high +with an aspect of quiet command and knightly observation. Fletcher +with more keen and fervid face, sharper in outline every way, with +an air of bright ardor and glad, fiery impatience; sanguine and +nervous, suiting the complexion and color of hair; the expression +of the eager eyes and lips almost rivaling that of a noble hound in +act to break the leash it strains at;--two heads as lordly of +feature and as expressive of aspect as any gallery of great men can +show."</p> +<p>It may not be altogether fanciful to transfer this description +of their physical bearing to their mental equipment, and draw some +conclusions as to their several endowments and their respective +share in the work that goes under their common name. Of course it +is impossible to draw hard and fast lines of demarkation, and +assign to each poet his own words. They, above all others, would +probably have resented so dogmatic a procedure, and affirmed the +dramas to be their joint offspring,--even as a child partakes of +the nature of both its parents.</p> +<p>Their plays are organic structures, with well worked-out plots +and for the most part well-sustained characters. They present a +complete fusion of the different elements contributed by each +author; never showing that agglomeration of incongruous matter so +often found among the work of the lesser playwrights, where each +hand can be singled out and held responsible for its share. +Elaborate attempts, based on verse tests, have been made to +disentangle the two threads of their poetic fabric. These attempts +show much patient analysis, and are interesting as evidences of +ingenuity; but they appeal more to the scholar than to the lover of +poetry. Yet a sympathetic reading and a comparison of the plays +professedly written by Fletcher alone, after Beaumont's death, with +those jointly produced by them in the early part of Fletcher's +career, shows the different qualities of mind that went to the +making of the work, and the individual characteristics of the men +that wrote it. Here Swinburne's eloquence gives concreteness to the +picture.</p> +<p>In the joint plays there is a surer touch, a deeper, more +pathetic note, a greater intensity of emotion; there is more tragic +pathos and passion, more strong genuine humor, nobler sentiments. +The predominance of these graver, sweeter qualities may well be +attributed to Beaumont's influence. Although a disciple of Jonson +in comedy, he was a close follower of Shakespeare in tragedy, and a +student of the rhythms and metres of Shakespeare's second +manner,--of the period that saw 'Hamlet,' 'Macbeth,' and the plays +clustering around them. Too great a poet himself merely to imitate, +Beaumont yet felt the influence of that still greater poet who +swayed every one of the later dramatists, with the single exception +perhaps of Jonson. But in pure comedy, mixed with farce and +mock-heroic parody, he belongs to the school of "rare Ben."</p> +<p>Fletcher, on the other hand, is more brilliant, more rapid and +supple, readier in his resources, of more startling invention. He +has an extraordinary swiftness and fluency of speech; and no other +dramatist, not even Shakespeare, equals him in the remarkable +facility with which he reproduces in light, airy verse the +bantering conversations of the young beaux and court-gentlemen of +the time of James I. His peculiar trick of the redundant syllable +at the end of many of his lines is largely responsible in producing +this effect of ordinary speech, that yet is verse without being +prosy. There is a flavor about Fletcher's work peculiarly its own. +He created a new form of mixed comedy and dramatic romance, dealing +with the humors and mischances of men, yet possessing a romantic +coloring. He had great skill in combining his effects, and threw a +fresh charm and vividness over his fanciful world. The quality of +his genius is essentially bright and sunny, and therefore he is +best in his comic and romantic work. His tragedy, although it has +great pathos and passion, does not compel tears, nor does it subdue +by its terror. It lacks the note of inevitableness which is the +final touchstone of tragic greatness.</p> +<p>Their first joint play, 'Philaster, or Love Lies a-Bleeding,' +acted in 1608, is in its detached passages the most famous. Among +the others, 'The Maid's Tragedy,' produced about the same time, is +their finest play on its purely tragic side, although the plot is +disagreeable. 'King and No King' attracts because of the tender +character-drawing of Panthea. 'The Scornful Lady' is noteworthy as +the best exponent, outside his own work, of the school of Jonson on +its grosser side. 'The Knight of the Burning Pestle' is at once a +burlesque on knight-errantry and a comedy of manners.</p> +<p>Among the tragedies presumably produced by Fletcher alone, +'Bonduca' is one of the best, followed closely by 'The False One,' +'Valentinian,' and 'Thierry and Theodoret.' 'The Chances' and 'The +Wild Goose Chase' may be taken as examples of the whole work on its +comic side. 'The Humorous Lieutenant' is the best expression of the +faults and merits of Fletcher, whose comedies Swinburne has divided +into three groups: pure comedies, heroic or romantic dramas, and +mixed comedy and romance. To the first group belong 'Rule a Wife +and Have a Wife,' Fletcher's comic masterpiece, 'Wit without +Money,' 'The Wild Goose Chase,' 'The Chances,' 'The Noble +Gentleman.' The second group includes 'The Knight of Malta,' full +of heroic passion and Catholic devotion, 'The Pilgrim,' 'The Loyal +Subject,' 'A Wife for a Month,' 'Love's Pilgrimage,' 'The Lover's +Progress.' The third group comprises 'The Spanish Curate,' +'Monsieur Thomas,' 'The Custom of the Country,' 'The Elder +Brother,' 'The Little French Lawyer,' 'The Humorous Lieutenant,' +'Women Pleased,' 'Beggar's Bush,' 'The Fair Maid of the Inn.'</p> +<p>Fletcher had a part with Shakespeare in the 'Two Noble Kinsmen,' +and he wrote also in conjunction with Massinger, Rowley, and +others; Shirley, too, is believed to have finished some of his +plays.</p> +<p>Leaving aside Shakespeare, Beaumont and Fletcher's plays are the +best dramatic expression of the romantic spirit of Elizabethan +England. Their luxurious, playful fancy delighted in the highly +colored, spicy tales of the Southern imagination which the +Renaissance was then bringing into England. They drew especially +upon Spanish material, and their plays are rightly interpreted only +when studied in reference to this Spanish foundation. But they are +at the same time true Englishmen, and above all true Elizabethans; +which is as much as to say that, borne along by the eager, +strenuous spirit of their time, reaching out toward new sensations +and impressions, new countries and customs, and dazzled by the +romanesque and fantastic, they took up this exotic material and +made it acceptable to the English mind. They satisfied the +curiosity of their time, and expressed its surface ideas and +longings. This accounts for their great popularity, which in their +day eclipsed even Shakespeare's, as it accounts also for their +shortcomings. They skimmed over the surface of passion, they saw +the pathos and the pity of it but not the terror; they lacked +Shakespeare's profound insight into the well-springs of human +action, and sacrificed truth of life to stage effect. They shared +with him one grave fault which is indeed the besetting sin of +dramatists, resulting in part from the necessarily curt and outline +action of the drama, in part from the love of audiences for strong +emotional effects; namely, the abrupt and unexplained moral +revolutions of their characters. Effects are too often produced +without apparent causes; a novelist has space to fill in the +blanks. The sudden contrition of the usurper in 'As You Like It' is +a familiar instance; Beaumont and Fletcher have plenty as bad. +Probably there was more of this in real life during the Middle +Ages, when most people still had much barbaric instability of +feeling and were liable to sudden revulsions of purpose, than in +our more equable society. On the other hand, virtue often suffers +needlessly and acquiescingly.</p> +<p>In their speech they indulged in much license, Fletcher +especially; he was prone to confuse right and wrong. The +strenuousness of the earlier Elizabethan age was passing away, and +the relaxing morality of Jacobean society was making its way into +literature, culminating in the entire disintegration of the time of +Charles II., which it is very shallow to lay entirely to the +Puritans. There would have been a time of great laxity had Cromwell +or the Puritan ascendancy never existed. Beaumont and Fletcher, in +their eagerness to please, took no thought of the after-effects of +their plays; morality did not enter into their scheme of life. Yet +they were not immoral, but merely unmoral. They lacked the high +seriousness that gives its permanent value to Shakespeare's tragic +work. They wrote not to embody the everlasting truths of life, as +he did; not because they were oppressed with the weight of a new +message striving for utterance; not because they were aflame with +the passion for the unattainable, as Marlowe; not to lash with the +stings of bitter mockery the follies and vices of their fellow-men, +as Ben Jonson; not primarily to make us shudder at the terrible +tragedies enacted by corrupted hearts, and the needless unending +sufferings of persecuted virtue, as Webster; nor yet to give us a +faithful picture of the different phases of life in Jacobean +London, as Dekker, Heywood, Middleton, and others. They wrote for +the very joy of writing, to give vent to their over-bubbling fancy +and their tender feeling.</p> +<p>They are lyrical and descriptive poets of the first order, with +a wonderful ease and grace of expression. The songs scattered +throughout their plays are second only to Shakespeare's. The volume +and variety of their work is astonishing. They left more than +fifty-two printed plays, and all of these show an extraordinary +power of invention; the most diverse passions, characters, and +situations enter into the work, their stories stimulate our +curiosity, and their characters appeal to our sympathies. +Especially in half-farcical, half-pathetic comedy they have no +superior; their wit and spirit here find freest play. Despite much +coarseness, their work is full of delicate sensibility, and +suffused with a romantic grace of form and a tenderness of +expression that endears them to our hearts, and makes them more +lovable than any of their brother dramatists, with the possible +exception of genial Dekker. The spirit of chivalry breathes through +their work, and the gentleman and scholar is always present. For in +contradiction to most of their fellow-workers, they were not on the +stage; they never took part in its more practical affairs either as +actors or managers; they derived the technical knowledge necessary +to a successful playwright from their intimacy with stage folk.</p> +<p>As poets, aside from their dramatic work, they occupy a +secondary place. Beaumont especially has left, beyond one or two +exquisite lyrics, little that is noteworthy, except some +commendatory verses addressed to Jonson. On the other hand, +Fletcher's 'Faithful Shepherdess,' with Jonson's 'Sad Shepherd' and +Milton's 'Comus,' form that delightful trilogy of the first +pastoral poems in the English language.</p> +<p>The popularity of Beaumont and Fletcher in the seventeenth +century, as compared to that of Shakespeare, has been +over-emphasized; for between 1623 and 1685 they have only two folio +editions, those of 1647 and 1679, as against four of Shakespeare. +Their position among the Elizabethans is unique. They did not found +a school either in comedy or tragedy. Massinger, who had more in +common with them than any other of the leading dramatists, cannot +be called their disciple; for though he worked in the same field, +he is more sober and severe, more careful in the construction of +his plots, more of a satirist and stern judge of society. With the +succeeding playwrights the decadence of the Elizabethan drama +began.</p> +<br> +<a name="BEAUMONT_01"></a> +<center><b>THE FAITHFUL SHEPHERDESS</b></center> +<br> +<center>BY FLETCHER</center> +<br> +<center>[Clorin, a shepherdess, watching by the grave of her lover, +is found by a Satyr.]</center> +<br> +<div class="poem"> +<div class="stanza"> +<p>CLORIN--Hail, holy earth, whose cold arms do embrace</p> +<p class="i5">The truest man that ever fed his flocks</p> +<p class="i5">By the fat plains of fruitful Thessaly.</p> +<p class="i5">Thus I salute thy grave, thus do I pay</p> +<p class="i5">My early vows, and tribute of mine eyes,</p> +<p class="i5">To thy still loved ashes: thus I free</p> +<p class="i5">Myself from all ensuing heats and fires</p> +<p class="i5">Of love: all sports, delights, and jolly games,</p> +<p class="i5">That shepherds hold full dear, thus put I off.</p> +<p class="i5">Now no more shall these smooth brows be begirt</p> +<p class="i5">With youthful coronals, and lead the dance.</p> +<p class="i5">No more the company of fresh fair maids</p> +<p class="i5">And wanton shepherds be to me delightful:</p> +<p class="i5">Nor the shrill pleasing sound of merry pipes</p> +<p class="i5">Under some shady dell, when the cool wind</p> +<p class="i5">Plays on the leaves: all be far away,</p> +<p class="i5">Since thou art far away, by whose dear side</p> +<p class="i5">How often have I sat, crowned with fresh flowers</p> +<p class="i5">For summer's queen, whilst every shepherd's boy</p> +<p class="i5">Puts on his lusty green, with gaudy hook,</p> +<p class="i5">And hanging script of finest cordevan!</p> +<p class="i5">But thou art gone, and these are gone with thee,</p> +<p class="i5">And all are dead but thy dear memory;</p> +<p class="i5">That shall outlive thee, and shall ever spring,</p> +<p class="i5">Whilst there are pipes, or jolly shepherds sing.</p> +<p class="i5">And here will I, in honor of thy love,</p> +<p class="i5">Dwell by thy grave, forgetting all those joys</p> +<p class="i5">That former times made precious to mine eyes,</p> +<p class="i5">Only remembering what my youth did gain</p> +<p class="i5">In the dark hidden virtuous use of herbs.</p> +<p class="i5">That will I practice, and as freely give</p> +<p class="i5">All my endeavors, as I gained them free.</p> +<p class="i5">Of all green wounds I know the remedies</p> +<p class="i5">In men or cattle, be they stung with snakes,</p> +<p class="i5">Or charmed with powerful words of wicked art;</p> +<p class="i5">Or be they love-sick, or through too much heat</p> +<p class="i5">Grown wild, or lunatic; their eyes, or ears,</p> +<p class="i5">Thickened with misty film of dulling rheum:</p> +</div> +<div class="stanza"> +<p>These I can cure, such secret virtue lies</p> +<p>In herbs applied by a virgin's hand.</p> +<p>My meat shall be what these wild woods afford,</p> +<p>Berries and chestnuts, plantains, on whose cheeks</p> +<p>The sun sits smiling, and the lofty fruit</p> +<p>Pulled from the fair head of the straight-grown pine.</p> +<p>On these I'll feed with free content and rest,</p> +<p>When night shall blind the world, by thy side blessed</p> +</div> +<div class="stanza"></div> +<div class="stanza"> +<p class="i3">[<i>A Satyr enters</i>.]</p> +</div> +<div class="stanza"> +<p><i>Satyr</i>--Through yon same bending plain</p> +<p class="i5">That flings his arms down to the main,</p> +<p class="i5">And through these thick woods have I run,</p> +<p class="i5">Whose bottom never kissed the sun.</p> +<p class="i5">Since the lusty spring began,</p> +<p class="i5">All to please my master Pan,</p> +<p class="i5">Have I trotted without rest</p> +<p class="i5">To get him fruit; for at a feast</p> +<p class="i5">He entertains this coming night</p> +<p class="i5">His paramour the Syrinx bright:</p> +<p class="i5">But behold a fairer sight!</p> +<p class="i5">By that heavenly form of thine,</p> +<p class="i5">Brightest fair, thou art divine,</p> +<p class="i5">Sprung from great immortal race</p> +<p class="i5">Of the gods, for in thy face</p> +<p class="i5">Shines more awful majesty</p> +<p class="i5">Than dull weak mortality</p> +<p class="i5">Dare with misty eyes behold,</p> +<p class="i5">And live: therefore on this mold</p> +<p class="i5">Lowly do I bend my knee</p> +<p class="i5">In worship of thy deity.</p> +<p class="i5">Deign it, goddess, from my hand</p> +<p class="i5">To receive whate'er this land</p> +<p class="i5">From her fertile womb doth send</p> +<p class="i5">Of her choice fruits; and--but lend</p> +<p class="i5">Belief to that the Satyr tells--</p> +<p class="i5">Fairer by the famous wells</p> +<p class="i5">To this present day ne'er grew,</p> +<p class="i5">Never better, nor more true.</p> +<p class="i5">Here be grapes, whose lusty blood</p> +<p class="i5">Is the learned poet's good;</p> +<p class="i5">Sweeter yet did never crown</p> +<p class="i5">The head of Bacchus: nuts more brown</p> +<p class="i5">Than the squirrels' teeth that crack them;</p> +<p class="i5">Deign, O fairest fair, to take them.</p> +<p class="i5">For these, black-eyed Driope</p> +<p class="i5">Hath oftentimes commanded me</p> +<p class="i5">With my clasped knee to climb.</p> +<p class="i5">See how well the lusty time</p> +<p class="i5">Hath decked their rising cheeks in red,</p> +<p class="i5">Such as on your lips is spread.</p> +<p class="i5">Here be berries for a queen;</p> +<p class="i5">Some be red, some be green;</p> +<p class="i5">These are of that luscious meat</p> +<p class="i5">The great god Pan himself doth eat:</p> +<p class="i5">All these, and what the woods can yield,</p> +<p class="i5">The hanging mountain, or the field,</p> +<p class="i5">I freely offer, and ere long</p> +<p class="i5">Will bring you more, more sweet and strong;</p> +<p class="i5">Till when humbly leave I take,</p> +<p class="i5">Lest the great Pan do awake,</p> +<p class="i5">That sleeping lies in a deep glade,</p> +<p class="i5">Under a broad beech's shade.</p> +<p class="i5">I must go, I must run,</p> +<p class="i5">Swifter than the fiery sun.</p> +</div> +<div class="stanza"> +<p><i>Clorin</i>--And all my fears go with thee.</p> +<p class="i5">What greatness, or what private hidden power,</p> +<p class="i5">Is there in me to draw submission</p> +<p class="i5">From this rude man and beast? sure. I am mortal,</p> +<p class="i5">The daughter of a shepherd; he was mortal,</p> +<p class="i5">And she that bore me mortal; prick my hand</p> +<p class="i5">And it will bleed; a fever shakes me, and</p> +<p class="i5">The self-same wind that makes the young lambs +shrink,</p> +<p class="i5">Makes me a-cold: my fear says I am mortal:</p> +<p class="i5">Yet I have heard (my mother told it me)</p> +<p class="i5">And now I do believe it, if I keep</p> +<p class="i5">My virgin flower uncropped, pure, chaste, and +fair,</p> +<p class="i5">No goblin, wood-god, fairy, elf, or fiend,</p> +<p class="i5">Satyr, or other power that haunts the groves,</p> +<p class="i5">Shall hurt my body, or by vain illusion</p> +<p class="i5">Draw me to wander after idle fires,</p> +<p class="i5">Or voices calling me in dead of night</p> +<p class="i5">To make me follow, and so tole me on</p> +<p class="i5">Through mire, and standing pools, to find my +ruin.</p> +<p class="i5">Else why should this rough thing, who never knew</p> +<p class="i5">Manners nor smooth humanity, whose heats</p> +<p class="i5">Are rougher than himself, and more misshapen,</p> +<p class="i5">Thus mildly kneel to me? Sure there's a power</p> +<p class="i5">In that great name of Virgin, that binds fast</p> +<p class="i5">All rude uncivil bloods, all appetites</p> +<p class="i5">That break their confines. Then, strong Chastity,</p> +<p class="i5">Be thou my strongest guard; for here I'll dwell</p> +<p class="i5">In opposition against fate and hell.</p> +</div> +</div> +<br> +<br> +<a name="BEAUMONT_02"></a> +<blockquote>SONG<br> +<br> +Care-charming Sleep, thou easer of all woes,<br> +Brother to Death, sweetly thyself dispose<br> +On this afflicted prince; fall, like a cloud,<br> +In gentle showers; give nothing that is loud<br> +Or painful to his slumbers; easy, light,<br> +And as a purling stream, thou son of Night,<br> +Pass by his troubled senses; sing his pain,<br> +Like hollow murmuring wind or silver rain;<br> +Into this prince gently, oh, gently slide,<br> +And kiss him into slumbers like a bride!</blockquote> +<br> +<br> +<a name="BEAUMONT_03"></a> +<blockquote><b>SONG</b><br> +<br> +God Lyæus, ever young,<br> +Ever honored, ever sung,<br> +Stained with blood of lusty grapes,<br> +In a thousand lusty shapes,<br> +Dance upon the mazer's brim,<br> +In the crimson liquor swim;<br> +From thy plenteous hand divine,<br> +Let a river run with wine.<br> + God of youth, let this day here<br> + Enter neither care nor fear!</blockquote> +<br> +<br> +<a name="BEAUMONT_04"></a> +<blockquote><b>ASPATIA'S SONG</b><br> +<br> +Lay a garland on my hearse<br> + Of the dismal yew;<br> +Maidens, willow-branches bear;<br> + Say I died true.<br> +<br> +My love was false, but I was firm<br> + From my hour of birth:<br> +Upon my buried body lie<br> + Lightly, gentle earth!</blockquote> +<br> +<br> +<a name="BEAUMONT_05"></a> +<blockquote><b>LEANDRO'S SONG</b><br> +<br> +BY FLETCHER<br> +<br> +Dearest, do not you delay me,<br> + Since thou know'st I must be gone;<br> +Wind and tide, 'tis thought, doth stay me,<br> + But 'tis wind that must be blown<br> + From that breath, whose native +smell<br> + Indian odors far excel.<br> +<br> +Oh then speak, thou fairest fair!<br> + Kill not him that vows to serve thee;<br> +But perfume this neighboring air,<br> + Else dull silence, sure, will starve me:<br> + 'Tis a word that's quickly +spoken,<br> + Which being restrained, a heart +is broken.</blockquote> +<br> +<br> +<a name="BEAUMONT_06"></a> +<blockquote><b>TRUE BEAUTY</b><br> +<br> +May I find a woman fair,<br> +And her mind as clear as air:<br> +If her beauty go alone,<br> +'Tis to me as if 'twere none.<br> +<br> +May I find a woman rich,<br> +And not of too high a pitch:<br> +If that pride should cause disdain,<br> +Tell me, lover, where's thy gain?<br> +<br> +May I find a woman wise,<br> +And her falsehood not disguise:<br> +Hath she wit as she hath will,<br> +Double armed she is to ill.<br> +<br> +May I find a woman kind,<br> +And not wavering like the wind:<br> +How should I call that love mine,<br> +When 'tis his, and his, and thine?<br> +<br> +May I find a woman true,<br> +There is beauty's fairest hue,<br> +There is beauty, love, and wit:<br> +Happy he can compass it!</blockquote> +<br> +<br> +<a name="BEAUMONT_07"></a> +<blockquote> <b>ODE +TO MELANCHOLY</b><br> +<br> + By Fletcher<br> +<br> + Hence, +all you vain delights,<br> + +As short as are the nights<br> + Wherein +you spend your folly!<br> + There's +naught in this life sweet,<br> + If man +were wise to see 't,<br> + +But only melancholy;<br> + +Oh, sweetest melancholy!<br> + Welcome, folded arms, and fixèd +eyes,<br> + A sigh that +piercing mortifies,<br> + A look that's fastened to the ground,<br> + A tongue chained up without a sound!<br> +<br> + Fountain heads, and pathless groves,<br> + Places which pale passion loves!<br> + Moonlight walks when all the fowls<br> + Are warmly housed, save bats and owls!<br> + A midnight bell, a parting groan!<br> + These are the sounds we feed upon;<br> +Then stretch our bones in a still gloomy valley;<br> +Nothing's so dainty sweet as lovely melancholy.</blockquote> +<br> +<br> +<a name="BEAUMONT_08"></a> +<blockquote><b>TO MY DEAR FRIEND, MASTER BENJAMIN JONSON</b>,<br> +<br> +UPON HIS 'FOX'<br> +<br> +By Beaumont<br> +<br> +If it might stand with justice to allow<br> +The swift conversion of all follies, now<br> +Such is my mercy, that I could admit<br> +All sorts should equally approve the wit<br> +Of this thy even work, whose growing fame<br> +Shall raise thee high, and thou it, with thy name;<br> +And did not manners and my love command<br> +Me to forbear to make those understand<br> +Whom thou, perhaps, hast in thy wiser doom<br> +Long since firmly resolved, shall never come<br> +To know more than they do,--I would have shown<br> +To all the world the art which thou alone<br> +Hast taught our tongue, the rules of time, of place,<br> +And other rites, delivered with the grace<br> +<br> +Of comic style, which only is fat more<br> +Than any English stage hath known before.<br> +But since our subtle gallants think it good<br> +To like of naught that may be understood,<br> +Lest they should be disproved, or have, at best,<br> +Stomachs so raw, that nothing can digest<br> +But what's obscene, or barks,--let us desire<br> +They may continue, simply to admire<br> +Fine clothes and strange words, and may live, in age<br> +To see themselves ill brought upon the stage,<br> +And like it; whilst thy bold and knowing Muse<br> +Contemns all praise, but such as thou wouldst choose.</blockquote> +<br> +<br> +<a name="BEAUMONT_09"></a> +<blockquote><b>ON THE TOMBS IN WESTMINSTER</b><br> +<br> +BY BEAUMONT<br> +<br> + Mortality, behold, and fear!<br> + What a change of flesh is here!<br> + Think how many royal bones<br> + Sleep within this heap of stones:<br> + Here they lie had realms and lands,<br> +Who now want strength to stir their hands;<br> +Where from their pulpits, soiled with dust,<br> +They preach, "In greatness is no trust."<br> + Here's an acre sown indeed<br> + With the richest, royal'st seed,<br> + That, the earth did e'er suck in<br> + Since the first man died for sin:<br> + Here the bones of birth have cried,<br> +"Though gods they were, as men they died:"<br> + Here are sands, ignoble things,<br> + Dropt from the ruined sides of kings:<br> + Here's a world of pomp and state<br> + Buried in dust, once dead by fate.</blockquote> +<br> +<br> +<a name="BEAUMONT_10"></a> +<blockquote><b>FROM 'PHILASTER, OR LOVE LIES A-BLEEDING'</b><br> +<br> +ARETHUSA'S DECLARATION<br> +<br> +Lady--Here is my Lord Philaster.<br> +<br> +<i>Arethusa</i>--Oh, 'tis well.<br> +Withdraw yourself. <i>Exit Lady</i>.<br> +<br> +<i>Philaster</i>--Madam, your messenger<br> +Made me believe you wished to speak with me.<br> +<br> +<i>Arethusa</i>--'Tis true, Philaster, but the words are such<br> +I have to say, and do so ill beseem<br> +The mouth of woman, that I wish them said,<br> +And yet am loath to speak them. Have you known<br> +That I have aught detracted from your worth?<br> +Have I in person wronged you? or have set<br> +My baser instruments to throw disgrace<br> +Upon your virtues?<br> +<br> +<i>Philaster</i>--Never, madam, you.<br> +<br> +<i>Arethusa</i>--Why then should you, in such a public place,<br> +Injure a princess, and a scandal lay<br> +Upon my fortunes, famed to be so great,<br> +Calling a great part of my dowry in question?<br> +<br> +<i>Philaster</i>--Madam, this truth which I shall speak will be<br> +Foolish: but, for your fair and virtuous self,<br> +I could afford myself to have no right<br> +To any thing you wished.<br> +<br> +<i>Arethusa</i>--Philaster, know,<br> +I must enjoy these kingdoms.<br> +<br> +<i>Philaster</i>--Madam, both?<br> +<br> +<i>Arethusa</i>--Both, or I die; by fate, I die, Philaster,<br> +If I not calmly may enjoy them both.<br> +<br> +<i>Philaster</i>--I would do much to save that noble life,<br> +Yet would be loath to have posterity<br> +Find in our stories, that Philaster gave<br> +His right unto a sceptre and a crown<br> +To save a lady's longing.<br> +<br> +<i>Arethusa</i>--Nay, then, hear:<br> +I must and will have them, and more--<br> +<br> +<i>Philaster</i>--What more?<br> +<br> +<i>Arethusa</i>--Or lose that little life the gods prepared<br> +To trouble this poor piece of earth withal.<br> +<br> +<i>Philaster</i>--Madam, what more?<br> +<br> +<i>Arethusa</i>--Turn, then, away thy face.<br> +<br> +<i>Philaster</i>--No.<br> +<br> +<i>Arethusa</i>--Do.<br> +<br> +<i>Philaster</i>--I can endure it. Turn away my face!<br> +I never yet saw enemy that looked<br> +So dreadfully, but that I thought myself<br> +As great a basilisk as he; or spake<br> +So horribly, but that I thought my tongue<br> +Bore thunder underneath, as much as his;<br> +Nor beast that I could turn from: shall I then<br> +Begin to fear sweet sounds? a lady's voice,<br> +Whom I do love? Say, you would have my life:<br> +Why, I will give it you; for 'tis to me<br> +A thing so loathed, and unto you that ask<br> +Of so poor use, that I shall make no price:<br> +If you entreat, I will unmovedly hear.<br> +<br> +<i>Arethusa</i>--Yet, for my sake, a little bend thy looks.<br> +<br> +<i>Philaster</i>--I do.<br> +<br> +<i>Arethusa</i>--Then know, I must have them and thee.<br> +<br> +<i>Philaster</i>--And me?<br> +<br> +<i>Arethusa</i>--Thy love; without which, all the land<br> +Discovered yet will serve me for no use<br> +But to be buried in.<br> +<br> +<i>Philaster</i>--Is't possible?<br> +<br> +<i>Arethusa</i>--With it, it were too little to bestow<br> +On thee. Now, though thy breath do strike me dead,<br> +(Which, know, it may,) I have unript my breast.<br> +<br> +<i>Philaster</i>--Madam, you are too full of noble thoughts<br> +To lay a train for this contemnèd life,<br> +Which you may have for asking: to suspect<br> +Were base, where I deserve no ill. Love you!<br> +By all my hopes I do, above my life!<br> +But how this passion should proceed from you<br> +So violently, would amaze a man<br> +That would be jealous.<br> +<br> +<i>Arethusa</i>--Another soul into my body shot<br> +Could not have filled me with more strength and spirit<br> +Than this thy breath. But spend not hasty time<br> +In seeking how I came thus: 'tis the gods,<br> +The gods, that make me so; and sure, our love<br> +Will be the nobler and the better blest,<br> +In that the secret justice of the gods<br> +Is mingled with it. Let us leave, and kiss:<br> +Lest some unwelcome guest should fall betwixt us,<br> +And we should part without it.<br> +<br> +<i>Philaster</i>--'Twill be ill<br> +I should abide here long.<br> +<br> +<i>Arethusa</i>--'Tis true: and worse<br> +You should come often. How shall we devise<br> +To hold intelligence, that our true loves,<br> +On any new occasion, may agree<br> +What path is best to tread?<br> +<br> +<i>Philaster</i>--I have a boy,<br> +Sent by the gods, I hope, to this intent,<br> +Yet not seen in the court. Hunting the buck,<br> +I found him sitting by a fountain's side,<br> +Of which he borrowed some to quench his thirst,<br> +And paid the nymph again as much in tears.<br> +A garland lay him by, made by himself<br> +Of many several flowers bred in the vale,<br> +Stuck in that mystic order that the rareness<br> +Delighted me; but ever when he turned<br> +His tender eyes upon 'em, he would weep,<br> +As if he meant to make 'em grow again.<br> +Seeing such pretty helpless innocence<br> +Dwell in his face, I asked him all his story.<br> +He told me that his parents gentle died,<br> +Leaving him to the mercy of the fields,<br> +Which gave him roots; and of the crystal springs,<br> +Which did not stop their courses; and the sun,<br> +Which still, he thanked him, yielded him his light.<br> +Then took he up his garland, and did show<br> +What every flower, as country-people hold,<br> +Did signify, and how all, ordered thus,<br> +Expressed his grief; and, to my thoughts, did read<br> +The prettiest lecture of his country-art<br> +That could be wished: so that methought I could<br> +Have studied it. I gladly entertained<br> +Him, who was glad to follow: and have got<br> +The trustiest, loving'st, and the gentlest boy<br> +That ever master kept. Him will I send<br> +To wait on you, and bear our hidden love.</blockquote> +<br> +<br> +<a name="BEAUMONT_11"></a> +<blockquote><b>THE STORY OF BELLARIO</b><br> +<br> +PHILASTER--But, Bellario<br> +(For I must call thee still so), tell me why<br> +Thou didst conceal thy sex. It was a fault,<br> +A fault, Bellario, though thy other deeds<br> +Of truth outweighed it: all these jealousies<br> +Had flown to nothing, if thou hadst discovered<br> +What now we know.<br> +<br> +<i>Bellario</i>--My father oft would speak<br> +Your worth and virtue; and as I did grow<br> +More and more apprehensive, I did thirst<br> +To see the man so praised. But yet all this<br> +Was but a maiden-longing, to be lost<br> +As soon as found; till, sitting in my window,<br> +Printing my thoughts in lawn, I saw a god,<br> +I thought (but it was you), enter our gates:<br> +My blood flew out and back again, as fast<br> +As I had puffed it forth and sucked it in<br> +Like breath; then was I called away in haste<br> +To entertain you. Never was a man<br> +Heaved from a sheep-cote to a sceptre, raised<br> +So high in thoughts as I. You left a kiss<br> +Upon these lips then, which I mean to keep<br> +From you for ever; I did hear you talk,<br> +Far above singing. After you were gone,<br> +I grew acquainted with my heart, and searched<br> +What stirred it so: alas, I found it love!<br> +Yet far from lust; for, could I but have lived<br> +In presence of you, I had had my end.<br> +For this I did delude my noble father<br> +With a feigned pilgrimage, and dressed myself<br> +In habit of a boy; and, for I knew<br> +My birth no match for you, I was past hope<br> +Of having you; and, understanding well<br> +That when I made discovery of my sex<br> +I could not stay with you, I made a vow,<br> +By all the most religious things a maid<br> +Could call together, never to be known,<br> +Whilst there was hope to hide me from men's eyes.<br> +For other than I seemed, that I might ever<br> +Abide with you. Then sat I by the fount,<br> +Where first you took me up.<br> +<br> +<i>King</i>--Search out a match<br> +Within our kingdom, where and when thou wilt,<br> +And I will pay thy dowry; and thyself<br> +Wilt well deserve him.<br> +<br> +<i>Bellario</i>--Never, sir, will I<br> +Marry; it is a thing within my vow:<br> +But if I may have leave to serve the princess,<br> +To see the virtues of her lord and her,<br> +I shall have hope to live.<br> +<br> +<i>Arethusa</i>--I, Philaster,<br> +Cannot be jealous, though you had a lady<br> +Drest like a page to serve you; nor will I<br> +Suspect her living here.--Come, live with me;<br> +Live free as I do. She that loves my lord,<br> +Cursed be the wife that hates her!</blockquote> +<br> +<br> +<a name="BEAUMONT_12"></a> +<blockquote><b>FROM 'THE MAID'S TRAGEDY'</b><br> +<br> +CONFESSION OF EVADNE TO AMINTOR<br> +<br> +Evadne--Would I could say so [farewell] to my black disgrace!<br> +Oh, where have I been all this time? how friended,<br> +That I should lose myself thus desperately,<br> +And none for pity show me how I wandered?<br> +There is not in the compass of the light<br> +A more unhappy creature: sure, I am monstrous;<br> +For I have done those follies, those mad mischiefs,<br> +Would dare a woman. Oh, my loaden soul,<br> +Be not so cruel to me; choke not up<br> +The way to my repentance!<br> +<br> +[<i>Enter Amintor.</i>]<br> +<br> + +O my lord!<br> +<br> +<i>Amintor</i>--How now?<br> +<br> +<i>Evadne</i>--My much-abused lord! +[<i>Kneels.</i>]<br> +<br> +<i>Amintor</i>--This cannot be!<br> +<br> +<i>Evadne</i>--I do not kneel to live; I dare not hope it;<br> +The wrongs I did are greater. Look upon me,<br> +Though I appear with all my faults.<br> +<br> +<i>Amintor</i>--Stand up.<br> +This is a new way to beget more sorrows:<br> +Heaven knows I have too many. Do not mock me:<br> +<br> +Though I am tame, and bred up with my wrongs,<br> +Which are my foster-brothers, I may leap,<br> +Like a hand-wolf, into my natural wildness,<br> +And do an outrage: prithee, do not mock me,<br> +<br> +<i>Evadne</i>--My whole life is so leprous, it infects<br> +All my repentance. I would buy your pardon,<br> +Though at the highest set, even with my life:<br> +That slight contrition, that's no sacrifice<br> +For what I have committed.<br> +<br> +<i>Amintor</i>--Sure, I dazzle:<br> +There cannot be a faith in that foul woman,<br> +That knows no God more mighty than her mischiefs.<br> +Thou dost still worse, still number on thy faults,<br> +To press my poor heart thus. Can I believe<br> +There's any seed of virtue in that woman<br> +Left to shoot up that dares go on in sin<br> +Known, and so known as thine is? O Evadne!<br> +Would there were any safety in thy sex,<br> +That I might put a thousand sorrows off,<br> +And credit thy repentance! but I must not:<br> +Thou hast brought me to that dull calamity,<br> +To that strange misbelief of all the world<br> +And all things that are in it, that I fear<br> +I shall fall like a tree, and find my grave,<br> +Only remembering that I grieve.<br> +<br> +<i>Evadne</i>--My lord,<br> +Give me your griefs: you are an innocent,<br> +A soul as white as Heaven; let not my sins<br> +Perish your noble youth. I do not fall here<br> +To shadow by dissembling with my tears,<br> +(As all say women can,) or to make less<br> +What my hot will hath done, which Heaven and you<br> +Know to be tougher than the hand of time<br> +Can cut from man's remembrances; no, I do not;<br> +I do appear the same, the same Evadne,<br> +Drest in the shames I lived in, the same monster.<br> +But these are names of honor to what I am:<br> +I do present myself the foulest creature,<br> +Most poisonous, dangerous, and despised of men,<br> +Lerna e'er bred, or Nilus. I am hell,<br> +Till you, my dear lord, shoot your light into me,<br> +The beams of your forgiveness; I am soul-sick,<br> +And wither with the fear of one condemned,<br> +Till I have got your pardon.<br> +<br> +<i>Amintor</i>--Rise, Evadne.<br> +Those heavenly powers that put this good into thee<br> +Grant a continuance of it! I forgive thee:<br> +Make thyself worthy of it; and take heed,<br> +Take heed, Evadne, this be serious.<br> +Mock not the powers above, that can and dare<br> +Give thee a great example of their justice<br> +To all ensuing ages, if thou playest<br> +With thy repentance, the best sacrifice.<br> +<br> +<i>Evadne</i>--I have done nothing good to win belief,<br> +My life hath been so faithless. All the creatures<br> +Made for Heaven's honors have their ends, and good ones,<br> +All but the cozening crocodiles, false women:<br> +They reign here like those plagues, those killing sores,<br> +Men pray against; and when they die, like tales<br> +Ill told and unbelieved, they pass away,<br> +And go to dust forgotten. But, my lord,<br> +Those short days I shall number to my rest<br> +(As many must not see me) shall, though too late,<br> +Though in my evening, yet perceive a will,<br> +Since I can do no good, because a woman,<br> +Reach constantly at something that is near it;<br> +I will redeem one minute of my age,<br> +Or, like another Niobe, I'll weep,<br> +Till I am water.<br> +<br> +<i>Amintor</i>--I am now dissolved:<br> +My frozen soul melts. May each sin thou hast,<br> +Find a new mercy! Rise; I am at peace.<br> +<br> +[<i>Evadne rises</i>.]<br> +<br> +Hadst thou been thus, thus excellently good,<br> +Before that devil-king tempted thy frailty,<br> +Sure thou hadst made a star. Give me thy hand:<br> +From this time I will know thee; and as far<br> +As honor gives me leave, be thy Amintor.<br> +When we meet next, I will salute thee fairly,<br> +And pray the gods to give thee happy days:<br> +My charity shall go along with thee,<br> +Though my embraces must be far from thee.<br> +I should have killed thee, but this sweet repentance<br> +Locks up my vengeance: for which thus I kiss thee--<br> +<br> +[<i>Kisses her</i>.]<br> +<br> +The last kiss we must take; and would to Heaven<br> +The holy priest that gave our hands together<br> +Had given us equal virtues! Go, Evadne;<br> +The gods thus part our bodies. Have a care<br> +My honor falls no farther: I am well, then.<br> +<br> +<i>Evadne</i>--All the dear joys here, and above hereafter,<br> +Crown thy fair soul! Thus I take leave, my lord;<br> +And never shall you see the foul Evadne,<br> +Till she have tried all honored means, that may<br> +Set her in rest and wash her stains away.</blockquote> +<br> +<br> +<a name="BEAUMONT_13"></a> +<blockquote><b>FROM 'BONDUCA'</b><br> +<br> +THE DEATH OF THE BOY HENGO<br> +<br> +[<i>Scene: A field between the British and the Roman +camps.</i>]<br> +<br> +<i>Caratach</i>--How does my boy?<br> +<br> +<i>Hengo</i>--I would do well; my heart's well;<br> +I do not fear.<br> +<br> +<i>Caratach</i>--My good boy!<br> +<br> +<i>Hengo</i>--I know, uncle,<br> +We must all die: my little brother died;<br> +I saw him die, and he died smiling; sure,<br> +There's no great pain in't, uncle. But pray tell me,<br> +Whither must we go when we are dead?<br> +<br> +<i>Caratach [aside]</i>--Strange questions!<br> +Why, the blessed'st place, boy! ever sweetness<br> +And happiness dwell there.<br> +<br> +<i>Hengo</i>--Will you come to me?<br> +<br> +<i>Caratach</i>--Yes, my sweet boy.<br> +<br> +<i>Hengo</i>--Mine aunt too, and my cousins?<br> +<br> +<i>Caratach</i>--All, my good child.<br> +<br> +<i>Hengo</i>--No Romans, uncle?<br> +<br> +<i>Caratach</i>--No, boy.<br> +<br> +<i>Hengo</i>--I should be loath to meet them there.<br> +<br> +<i>Caratach</i>--No ill men,<br> +That live by violence and strong oppression,<br> +Come thither: 'tis for those the gods love, good men.<br> +<br> +<i>Hengo</i>--Why, then, I care not when I go, for surely<br> +I am persuaded they love me: I never<br> +Blasphemed 'em, uncle, nor transgressed my parents;<br> +I always said my prayers.<br> +<br> +<i>Caratach</i>--Thou shalt go, then;<br> +Indeed thou shalt.<br> +<br> +<i>Hengo</i>--When they please.<br> +<br> +<i>Caratach</i>--That's my good boy!<br> +Art thou not weary, Hengo?<br> +<br> +<i>Hengo</i>--Weary, uncle!<br> +I have heard you say you have marched all day in armor.<br> +<br> +<i>Caratach</i>--I have, boy.<br> +<br> +<i>Hengo</i>--Am not I your kinsman?<br> +<br> +<i>Caratach</i>--Yes.<br> +<br> +<i>Hengo</i>--And am not I as fully allied unto you<br> +In those brave things as blood?<br> +<br> +<i>Caratach</i>--Thou art too tender.<br> +<br> +<i>Hengo</i>--To go upon my legs? they were made to bear me.<br> +I can play twenty miles a day; I see no reason<br> +But, to preserve my country and myself,<br> +I should march forty.<br> +<br> +<i>Caratach</i>--What wouldst thou be, living<br> +To wear a man's strength!<br> +<br> +<i>Hengo</i>--Why, a Caratach,<br> +A Roman-hater, a scourge sent from Heaven<br> +To whip these proud thieves from our kingdom. Hark!<br> +<br> +[<i>Drum within.</i>]<br> +<br> +<hr style="width: 25%;"> +<br> +<br> +[<i>They are on a rock in the rear of a wood.</i>]<br> +<br> +<i>Caratach</i>--Courage, my boy! I have found meat: look, +Hengo,<br> +Look where some blessèd Briton, to preserve thee,<br> +Has hung a little food and drink: cheer up, boy;<br> +Do not forsake me now.<br> +<br> +<i>Hengo</i>--O uncle, uncle,<br> +I feel I cannot stay long! yet I'll fetch it,<br> +To keep your noble life. Uncle, I am heart-whole,<br> +And would live.<br> +<br> +<i>Caratach</i>--Thou shalt, long, I hope.<br> +<br> +<i>Hengo</i>--But my head, uncle!<br> +Methinks the rock goes round.<br> +<br> +[<i>Enter Macer and Judas, and remain at the side of the +stage.</i>]<br> +<br> +<i>Macer</i>--Mark 'em well, Judas.<br> +<br> +<i>Judas</i>--Peace, as you love your life.<br> +<br> +<i>Hengo</i>--Do not you hear<br> +The noise of bells?<br> +<br> +<i>Caratach</i>--Of bells, boy! 'tis thy fancy;<br> +Alas, thy body's full of wind!<br> +<br> +<i>Hengo</i>--Methinks, sir,<br> +They ring a strange sad knell, a preparation<br> +To some near funeral of state: nay, weep not,<br> +Mine own sweet uncle; you will kill me sooner.<br> +<br> +<i>Caratach</i>--O my poor chicken!<br> +<br> +<i>Hengo</i>--Fie, faint-hearted uncle!<br> +Come, tie me in your belt and let me down.<br> +<br> +<i>Caratach</i>--I'll go myself, boy.<br> +<br> +<i>Hengo</i>--No, as you love me, uncle:<br> +I will not eat it, if I do not fetch it;<br> +The danger only I desire: pray, tie me.<br> +<br> +<i>Caratach</i>--I will, and all my care hang o'er thee! Come, +child,<br> +My valiant child!<br> +<br> +<i>Hengo</i>--Let me down apace, uncle,<br> +And you shall see how like a daw I'll whip it<br> +From all their policies; for 'tis most certain<br> +A Roman train: and you must hold me sure, too;<br> +You'll spoil all else. When I have brought it, uncle,<br> +We'll be as merry--<br> +<br> +<i>Caratach</i>--Go, i' the name of Heaven, boy!<br> +<br> +[<i>Lets Hengo down by his belt.</i>]<br> +<br> +<i>Hengo</i>--Quick, quick, uncle! I have it.<br> + [<i>Judas shoots Hengo with an arrow</i>.] Oh!<br> +<br> +<i>Caratach</i>--What ail'st thou?<br> +<br> +<i>Hengo</i>--Oh, my best uncle, I am slain!<br> +<br> +<i>Caratach [to Judas]</i>--I see you,<br> +And Heaven direct my hand! destruction<br> +Go with thy coward soul!<br> +<br> +[<i>Kills Judas with a stone, and then draws up Hengo. Exit +Macer.</i>]<br> +<br> + +How dost thou, boy?--<br> +O villain, pocky villain!<br> +<br> +<i>Hengo</i>--Oh, uncle, uncle,<br> +Oh, how it pricks me!--am I preserved for this?--<br> +Extremely pricks me!<br> +<br> +<i>Caratach</i>--Coward, rascal coward!<br> +Dogs eat thy flesh!<br> +<br> +<i>Hengo</i>--Oh, I bleed hard! I faint too; out upon't,<br> +How sick I am!--The lean rogue, uncle!<br> +<br> +<i>Caratach</i>--Look, boy;<br> +I have laid him sure enough.<br> +<br> +<i>Hengo</i>--Have you knocked his brains out?<br> +<br> +<i>Caratach</i>--I warrant thee, for stirring more: cheer up, +child.<br> +<br> +<i>Hengo</i>--Hold my sides hard; stop, stop; oh, wretched +fortune,<br> +Must we part thus? Still I grow sicker, uncle.<br> +<br> +<i>Caratach</i>--Heaven look upon this noble child!<br> +<br> +<i>Hengo</i>--I once hoped<br> +I should have lived to have met these bloody Romans<br> +At my sword's point, to have revenged my father,<br> +To have beaten 'em,--oh, hold me hard!--but, uncle--<br> +<br> +<i>Caratach</i>--Thou shalt live still, I hope, boy. Shall I draw +it?<br> +<br> +<i>Hengo</i>--You draw away my soul, then. I would live<br> +A little longer--spare me, Heavens!--but only<br> +To thank you for your tender love: good uncle,<br> +Good noble uncle, weep not.<br> +<br> +<i>Caratach</i>--O my chicken,<br> +My dear boy, what shall I lose?<br> +<br> +<i>Hengo</i>--Why, a child,<br> +That must have died however; had this 'scaped me,<br> +Fever or famine--I was born to die, sir.<br> +<br> +<i>Caratach</i>--But thus unblown, my boy?<br> +<br> +<i>Hengo</i>--I go the straighter<br> +My journey to the gods. Sure, I shall know you<br> +When you come, uncle.<br> +<br> +<i>Caratach</i>--Yes, boy.<br> +<br> +<i>Hengo</i>--And I hope<br> +We shall enjoy together that great blessedness<br> +You told me of.<br> +<br> +<i>Caratach</i>--Most certain, child.<br> +<br> +<i>Hengo</i>--I grow cold;<br> +Mine eyes are going.<br> +<br> +<i>Caratach</i>--Lift 'em up.<br> +<br> +<i>Hengo</i>--Pray for me;<br> +And, noble uncle, when my bones are ashes,<br> +Think of your little nephew!--Mercy!<br> +<br> +<i>Caratach</i>--Mercy!<br> +You blessèd angels, take him!<br> +<br> +<i>Hengo</i>--Kiss me: so.<br> +Farewell, farewell! [<i>Dies.</i>]<br> +<br> +<i>Caratach</i>--Farewell, the hopes of Britain!<br> +Thou royal graft, farewell for ever!--Time and Death,<br> +Ye have done your worst. Fortune, now see, now proudly<br> +Pluck off thy veil and view thy triumph; look,<br> +Look what thou hast brought this land to!--O fair flower,<br> +How lovely yet thy ruins show, how sweetly<br> +Even death embraces thee! the peace of Heaven,<br> +The fellowship of all great souls, be with thee!</blockquote> +<br> +<br> +<a name="BEAUMONT_14"></a> +<blockquote><b>FROM 'THE TWO NOBLE KINSMEN'</b><br> +<br> +BY SHAKESPEARE AND FLETCHER<br> +<br> +Roses, their sharp spines being gone,<br> +Not royal in their smells alone,<br> + But in their hue;<br> +Maiden-pinks, of odor faint,<br> +Daisies smell-less yet most quaint,<br> + And sweet thyme true;<br> +<br> +Primrose, first-born child of Ver,<br> +Merry spring-time's harbinger,<br> + With her bells dim;<br> +Oxlips in their cradles growing,<br> +Marigolds on death-beds blowing,<br> + Larks'-heels trim.<br> +<br> +All, dear Nature's children sweet,<br> +Lie 'fore bride and bridegroom's feet,<br> + Blessing their sense!<br> +Not an angel of the air,<br> +Bird melodious or bird fair,<br> + Be absent hence!<br> +<br> +The crow, the slanderous cuckoo, nor<br> +The boding raven, nor chough hoar,<br> + Nor chattering pie,<br> +May on our bride-house perch or sing,<br> +Or with them any discord bring,<br> + But from it fly!</blockquote> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BECKFORD"></a> +<h2>WILLIAM BECKFORD</h2> +<h3>(1759-1844)</h3> +<br> +<p class="par"><img src="images/letter-t.png" width="30%" alt= +""></p> +<p>he translation from a defective Arabic manuscript of the 'Book +of the Thousand Nights and A Night,' first into the French by +Galland, about 1705, and presently into various English versions, +exerted an immediate influence on French, German, and English +romance. The pseudo-Oriental or semi-Oriental tale of +home-manufacture sprang into existence right and left with the +publishers of London and Paris, and in German centres of letters. +Hope's 'Anastasius, or Memoirs of a Modern Greek,' Lewis's 'The +Monk,' the German Hauff's admirable 'Stories of the Caravan, the +Inn, and the Palace,' Rückert's 'Tales of the Genii,' and +William Beckford's 'History of the Caliph Vathek,' are among the +finest performances of the sort: productions more or less Eastern +in sentiment and in their details of local color, but independent +of direct originals in the Persian or Arabic, so far as is +conclusively known.</p> +<p class="rgt"><img src="images/image-269.png" width="45%" alt= +""><br> +<b>William Beckford.</b></p> +<p>William Beckford, born at London in 1759 (of a strong line which +included a governor of Jamaica), dying in 1844, is a figure of +distinction merely as an Englishman of his time, aside from his one +claim to literary remembrance. His father's death left him the +richest untitled citizen of England. He was not sent to a +university, but immense care was given to his education, in which +Lord Chatham personally interested himself; and he traveled widely. +The result of this, on a very receptive mind with varied natural +gifts, was to make Beckford an ideal dilettante. His tastes in +literature, painting, music (in which Mozart was his tutor), +sculpture, architecture, and what not, were refined to the highest +nicety. He was able to gratify each of them as such a man can +rarely have the means to do. He built palaces and towers of +splendor instead of merely a beautiful country seat. He tried to +reproduce Vathek's halls in stone and stucco, employing relays of +workmen by day and night, on two several occasions and estates, for +many months. Where other men got together moderate collections of +<i>bibelots</i>, Beckford amassed whole museums. If a builder's +neglect or a fire destroyed his rarities and damaged his estates to +the extent of forty or fifty thousand pounds, Beckford merely +rebuilt and re-collected. These tastes and lavish expenditures +gradually set themselves in a current toward things Eastern. His +magnificent retreat at Cintra in Portugal, his vast Fonthill Abbey +and Lansdowne Hill estates in England, were only appanages of his +sumptuous state. England and Europe talked of him and of his +properties. He was a typical egotist: but an agreeable and gracious +man, esteemed by a circle of friends not called upon to be his +sycophants; and he kept in close touch with the intellectual life +of all Europe.</p> +<p>He wrote much, for an amateur, and in view of the tale which +does him most honor, he wrote with success. At twenty he invited +publicity with a satiric <i>jeu d'esprit,</i> 'Biographical Memoirs +of Extraordinary Painters'; and his 'Italy, with Sketches of Spain +and Portugal,' and 'Recollections of an Excursion to the +Monasteries of Alcobaba and Baltalha,' were well received. But +these books could not be expected to survive even three +generations; whereas 'Vathek,' the brilliant, the unique, the +inimitable 'Vathek,' took at once a place in literature which we +may now almost dare to call permanent. This story, not a long +one,--indeed, no more than a novelette in size,--was originally +written in French, and still lives in that language; in which an +edition, hardly the best, has lately been issued under the +editorship of M. Mallarmé. But its history is complicated by +one of the most notable acts of literary treachery and theft on +record. During the author's slow and finicky composition of it at +Lausanne, he was sending it piecemeal to his friend Robert Henley +in England for Henley to make an English version, of course to be +revised by himself. As soon as Henley had all the parts, he +published a hasty and slipshod translation, before Beckford had +seen it or was even ready to publish the French original; and not +only did so, but published it as a tale translated by himself from +a genuine Arabic original. This double violation of good faith of +course enraged Beckford, and practically separated the two men for +the rest of their lives; indeed, the wonder is that Beckford would +ever recognize Henley's existence again. The piracy was exposed and +set aside, and Beckford in self-defense issued the story himself in +French as soon as he could; indeed, he issued it in two versions +with curious and interesting differences, one published at Lausanne +and the other at Paris. The Lausanne edition is preferable.</p> +<p>'Vathek' abides to-day accredited to Beckford in both French and +English; a thing to keep his memory green as nothing else of his +work or personality will. The familiar legend that in its present +form it was composed at a single sitting, with such ardor as to +entail a severe illness, and "without the author's taking off his +clothes," cannot be reconciled with the known facts. But the +intensely vivid movement of it certainly suggests swift production; +and it could easily be thought that any author had sketched such a +story in the heat of some undisturbed sitting, and filled, +finished, and polished it at leisure. It is an extraordinary +performance; even in Henley's unsatisfactory version it is +irresistible. We know that Beckford expected to add liberally to it +by inserting sundry subordinate tales, put into the mouths of some +of the personages appearing in the last scene. It is quite as well +that he did not. Its distinctive Orientalism, perhaps less +remarkable than the unfettered imagination of its episodes, the +vividness of its characters, the easy brilliancy of its literary +manner--these things, with French diction and French wit, alternate +with startling descriptive impressiveness. It is a French +combination of Cervantes and Dante, in an Oriental and bizarre +narrative. It is not always delicate, but it is never vulgar, and +the sprightly pages are as admirable as the weird ones. Its +pictures, taken out of their connection, seem irrelevant, and are +certainly unlike enough; but they are a succession of surprises and +fascinations. Such are the famous description of the chase of +Vathek's court after the Giaour; the moonlit departure of the +Caliph for the Terrace of Istakhar; the episodes of his stay under +the roof of the Emir Fakreddin; the pursuit by Carathis on "her +great camel Alboufaki," attended by "the hideous Nerkes and the +unrelenting Cafour"; Nouronihar drawn to the magic flame in the +dell at night; the warning of the good Jinn; and the tremendous +final tableau of the Hall of Eblis.</p> +<p>The man curious in letters regards with affection the evidences +of vitality in a brief production little more than a century old; +unique in English and French literature, and occupying to-day a +high rank among the small group of <i>quasi</i>-Oriental narratives +that represent the direct workings of Galland on the Occidental +literary temperament. Today 'Vathek' surprises and delights persons +whose mental constitution puts them in touch with it, just as +potently as ever it did. And simply as a wild story, one fancies +that it will appeal quite as effectually, no matter how many +editions may be its future, to a public perhaps unsympathetic +toward its elliptical satire, its caustic wit, its fantastic course +of narrative, and its incongruous wavering between the flippant, +the grotesque, and the terrific.</p> +<br> +<a name="BECKFORD_01"></a> +<center><b>THE INCANTATION AND THE SACRIFICE</b></center> +<br> +<center>From 'The History of the Caliph Vathek'</center> +<br> +<p>By secret stairs, known only to herself and her son, she +[Carathis] first repaired to the mysterious recesses in which were +deposited the mummies that had been brought from the catacombs of +the ancient Pharaohs. Of these she ordered several to be taken. +From thence she resorted to a gallery, where, under the guard of +fifty female negroes, mute, and blind of the right eye, were +preserved the oil of the most venomous serpents, rhinoceros horns, +and woods of a subtle and penetrating odor, procured from the +interior of the Indies, together with a thousand other horrible +rarities. This collection had been formed for a purpose like the +present by Carathis herself, from a presentiment that she might one +day enjoy some intercourse with the infernal powers, to whom she +had ever been passionately attached, and to whose taste she was no +stranger.</p> +<p>To familiarize herself the better with the horrors in view the +Princess remained in the company of her negresses, who squinted in +the most amiable manner from the only eye they had, and leered with +exquisite delight at the skulls and skeletons which Carathis had +drawn forth from her cabinets....</p> +<p>Whilst she was thus occupied, the Caliph, who, instead of the +visions he expected, had acquired in these insubstantial regions a +voracious appetite, was greatly provoked at the negresses: for, +having totally forgotten their deafness, he had impatiently asked +them for food; and seeing them regardless of his demand, he began +to cuff, pinch, and push them, till Carathis arrived to terminate a +scene so indecent....</p> +<p>"Son! what means all this?" said she, panting for breath. "I +thought I heard as I came up, the shriek of a thousand bats, +tearing from their crannies in the recesses of a cavern.... You but +ill deserve the admirable provision I have brought you."</p> +<p>"Give it me instantly!" exclaimed the Caliph: "I am perishing +for hunger!"</p> +<p>"As to that," answered she, "you must have an excellent stomach +if it can digest what I have been preparing."</p> +<p>"Be quick," replied the Caliph. "But oh, heavens! what horrors! +What do you intend?"</p> +<p>"Come, come," returned Carathis, "be not so squeamish, but help +me to arrange everything properly, and you shall see that what you +reject with such symptoms of disgust will soon complete your +felicity. Let us get ready the pile for the sacrifice of to-night, +and think not of eating till that is performed. Know you not that +all solemn rites are preceded by a rigorous abstinence?"</p> +<p>The Caliph, not daring to object, abandoned himself to grief, +and the wind that ravaged his entrails, whilst his mother went +forward with the requisite operations. Phials of serpents' oil, +mummies, and bones were soon set in order on the balustrade of the +tower. The pile began to rise; and in three hours was as many +cubits high. At length darkness approached, and Carathis, having +stripped herself to her inmost garment, clapped her hands in an +impulse of ecstasy, and struck light with all her force. The mutes +followed her example: but Vathek, extenuated with hunger and +impatience, was unable to support himself, and fell down in a +swoon. The sparks had already kindled the dry wood; the venomous +oil burst into a thousand blue flames; the mummies, dissolving, +emitted a thick dun vapor; and the rhinoceros' horns beginning to +consume, all together diffused such a stench, that the Caliph, +recovering, started from his trance and gazed wildly on the scene +in full blaze around him. The oil gushed forth in a plenitude of +streams; and the negresses, who supplied it without intermission, +united their cries to those of the Princess. At last the fire +became so violent, and the flames reflected from the polished +marble so dazzling, that the Caliph, unable to withstand the heat +and the blaze, effected his escape, and clambered up the imperial +standard.</p> +<p>In the mean time, the inhabitants of Samarah, scared at the +light which shone over the city, arose in haste, ascended their +roofs, beheld the tower on fire, and hurried half-naked to the +square. Their love to their sovereign immediately awoke; and +apprehending him in danger of perishing in his tower, their whole +thoughts were occupied with the means of his safety. Morakanabad +flew from his retirement, wiped away his tears, and cried out for +water like the rest. Bababalouk, whose olfactory nerves were more +familiarized to magical odors, readily conjecturing that Carathis +was engaged in her favorite amusements, strenuously exhorted them +not to be alarmed. Him, however, they treated as an old poltroon; +and forbore not to style him a rascally traitor. The camels and +dromedaries were advancing with water, but no one knew by which way +to enter the tower. Whilst the populace was obstinate in forcing +the doors, a violent east wind drove such a volume of flame against +them, as at first forced them off, but afterwards rekindled their +zeal. At the same time, the stench of the horns and mummies +increasing, most of the crowd fell backward in a state of +suffocation. Those that kept their feet mutually wondered at the +cause of the smell, and admonished each other to retire. +Morakanabad, more sick than the rest, remained in a piteous +condition. Holding his nose with one hand, he persisted in his +efforts with the other to burst open the doors, and obtain +admission. A hundred and forty of the strongest and most resolute +at length accomplished their purpose....</p> +<p>Carathis, alarmed at the signs of her mutes, advanced to the +staircase, went down a few steps, and heard several voices calling +out from below:--</p> +<p>"You shall in a moment have water!"</p> +<p>Being rather alert, considering her age, she presently regained +the top of the tower, and bade her son suspend the sacrifice for +some minutes, adding:--</p> +<p>"We shall soon be enabled to render it more grateful. Certain +dolts of your subjects, imagining, no doubt, that we were on fire, +have been rash enough to break through those doors, which had +hitherto remained inviolate, for the sake of bringing up water. +They are very kind, you must allow, so soon to forget the wrongs +you have done them: but that is of little moment. Let us offer them +to the Giaour. Let them come up: our mutes, who neither want +strength nor experience, will soon dispatch them, exhausted as they +are with fatigue."</p> +<p>"Be it so," answered the Caliph, "provided we finish, and I +dine."</p> +<p>In fact, these good people, out of breath from ascending eleven +thousand stairs in such haste, and chagrined at having spilt, by +the way, the water they had taken, were no sooner arrived at the +top than the blaze of the flames and the fumes of the mummies at +once overpowered their senses. It was a pity! for they beheld not +the agreeable smile with which the mutes and the negresses adjusted +the cord to their necks: these amiable personages rejoiced, +however, no less at the scene. Never before had the ceremony of +strangling been performed with so much facility. They all fell +without the least resistance or struggle; so that Vathek, in the +space of a few moments, found himself surrounded by the dead bodies +of his most faithful subjects, all of which were thrown on the top +of the pile.</p> +<br> +<a name="BECKFORD_02"></a> +<center><b>VATHEK AND NOURONIHAR IN THE HALLS OF EBLIS</b></center> +<br> +<center>From 'The History of the Caliph Vathek'</center> +<br> +<p>The Caliph and Nouronihar beheld each other with amazement, at +finding themselves in a place which, though roofed with a vaulted +ceiling, was so spacious and lofty that at first they took it for +an immeasurable plain. But their eyes at length growing familiar +with the grandeur of the objects at hand, they extended their view +to those at a distance, and discovered rows of columns and arcades, +which gradually diminished till they terminated in a point, radiant +as the sun when he darts his last beams athwart the ocean; the +pavement, strewed over with gold dust and saffron, exhaled so +subtle an odor as almost overpowered them; they however went on, +and observed an infinity of censers, in which ambergris and the +wood of aloes were continually burning; between the several columns +were placed tables, each spread with a profusion of viands, and +wines of every species sparkling in vases of crystal. A throng of +genii and other fantastic spirits of each sex danced lasciviously +in troops, at the sound of music which issued from beneath.</p> +<p>In the midst of this immense hall a vast multitude was +incessantly passing, who severally kept their right hands on their +hearts, without once regarding anything around them; they had all +the livid paleness of death; their eyes, deep sunk in their +sockets, resembled those phosphoric meteors that glimmer by night +in places of interment. Some stalked slowly on, absorbed in +profound reverie; some, shrieking with agony, ran furiously about, +like tigers wounded with poisoned arrows; whilst others, grinding +their teeth in rage, foamed along, more frantic than the wildest +maniac. They all avoided each other, and though surrounded by a +multitude that no one could number, each wandered at random, +unheedful of the rest, as if alone on a desert which no foot had +trodden.</p> +<p>Vathek and Nouronihar, frozen with terror at a sight so baleful, +demanded of the Giaour what these appearances might seem, and why +these ambulating spectres never withdrew their hands from their +hearts.</p> +<p>"Perplex not yourselves," replied he bluntly, "with so much at +once; you will soon be acquainted with all: let us haste and +present you to Eblis."</p> +<p>They continued their way through the multitude; but +notwithstanding their confidence at first, they were not +sufficiently composed to examine with attention the various +perspectives of halls and of galleries that opened on the right +hand and left, which were all illuminated by torches and braziers, +whose flames rose in pyramids to the centre of the vault. At length +they came to a place where long curtains, brocaded with crimson and +gold, fell from all parts in striking confusion; here the choirs +and dances were heard no longer, the light which glimmered came +from afar.</p> +<p>After some time Vathck and Nouronihar perceived a gleam +brightening through the drapery, and entered a vast tabernacle +carpeted with the skins of leopards; an infinity of elders with +streaming beards, and Afrits in complete armor, had prostrated +themselves before the ascent of a lofty eminence, on the top of +which, upon a globe of fire, sat the formidable Eblis. His person +was that of a young man, whose noble and regular features seemed to +have been tarnished by malignant vapors; in his large eyes appeared +both pride and despair; his flowing hair retained some resemblance +to that of an angel of light; in his hand, which thunder had +blasted, he swayed the iron sceptre that causes the monster +Ouranabad, the Afrits, and all the powers of the abyss to tremble; +at his presence the heart of the Caliph sunk within him, and for +the first time he fell prostrate on his face. Nouronihar, however, +though greatly dismayed, could not help admiring the person of +Eblis; for she expected to have seen some stupendous giant. Eblis, +with a voice more mild than might be imagined, but such as +transfused through the soul the deepest melancholy, said:--</p> +<p>"Creatures of clay, I receive you into mine empire; ye are +numbered amongst my adorers. Enjoy whatever this palace affords: +the treasures of the pre-Adamite Sultans, their bickering sabres, +and those talismans that compel the Dives to open the subterranean +expanses of the mountain of Kaf, which communicate with these. +There, insatiable as your curiosity may be, shall you find +sufficient to gratify it; you shall possess the exclusive privilege +of entering the fortress of Aherman, and the halls of Argenk, where +are portrayed all creatures endowed with intelligence, and the +various animals that inhabited the earth prior to the creation of +that contemptible being whom ye denominate the Father of +Mankind."</p> +<p>Vathek and Nouronihar, feeling themselves revived and encouraged +by this harangue, eagerly said to the Giaour:--</p> +<p>"Bring us instantly to the place which contains these precious +talismans."</p> +<p>"Come!" answered this wicked Dive, with his malignant grin, +"come! and possess all that my Sovereign hath promised, and +more."</p> +<p>He then conducted them into a long aisle adjoining the +tabernacle, preceding them with hasty steps, and followed by his +disciples with the utmost alacrity. They reached at length a hall +of great extent, and covered with a lofty dome, around which +appeared fifty portals of bronze, secured with as many fastenings +of iron. A funereal gloom prevailed over the whole scene. Here, +upon two beds of incorruptible cedar, lay recumbent the fleshless +forms of the pre-Adamite kings, who had been monarchs of the whole +earth. They still possessed enough of life to be conscious of their +deplorable condition; their eyes retained a melancholy motion; they +regarded each other with looks of the deepest dejection, each +holding his right hand motionless on his heart. At their feet were +inscribed the events of their several reigns, their power, their +pride, and their crimes. Soliman Raad, Soliman Daki, and Soliman Di +Gian Ben Gian, who, after having chained up the Dives in the dark +caverns of Kaf, became so presumptuous as to doubt of the Supreme +Power,--all these maintained great state, though not to be compared +with the eminence of Soliman Ben Daoud [Solomon the son of +David].</p> +<p>This king, so renowned for his wisdom, was on the loftiest +elevation, and placed immediately under the dome; he appeared to +possess more animation than the rest, though from time to time he +labored with profound sighs, and like his companions, kept his +right hand on his heart; yet his countenance was more composed, and +he seemed to be listening to the sullen roar of a vast cataract, +visible in part through the grated portals; this was the only sound +that intruded on the silence of these doleful mansions. A range of +brazen vases surrounded the elevation.</p> +<p>"Remove the covers from these cabalistic depositaries," said the +Giaour to Vathek, "and avail thyself of the talismans, which will +break asunder all these gates of bronze, and not only render thee +master of the treasures contained within them, but also of the +spirits by which they are guarded."</p> +<p>The Caliph, whom this ominous preliminary had entirely +disconcerted, approached the vases with faltering footsteps, and +was ready to sink with terror when he heard the groans of Soliman. +As he proceeded, a voice from the livid lips of the Prophet +articulated these words:--</p> +<p>"In my lifetime I filled a magnificent throne, having on my +right hand twelve thousand seats of gold, where the patriarchs and +the prophets heard my doctrines; on my left the sages and doctors, +upon as many thrones of silver, were present at all my decisions. +Whilst I thus administered justice to innumerable multitudes, the +birds of the air librating over me served as a canopy from the rays +of the sun; my people flourished, and my palace rose to the clouds; +I erected a temple to the Most High which was the wonder of the +universe. But I basely suffered myself to be seduced by the love of +women, and a curiosity that could not be restrained by sublunary +things; I listened to the counsels of Aherman and the daughter of +Pharaoh, and adored fire and the hosts of heaven; I forsook the +holy city, and commanded the Genii to rear the stupendous palace of +Istakhar, and the terrace of the watch-towers, each of which was +consecrated to a star. There for a while I enjoyed myself in the +zenith of glory and pleasure; not only men, but supernatural +existences were subject also to my will. I began to think, as these +unhappy monarchs around had already thought, that the vengeance of +Heaven was asleep, when at once the thunder burst my structures +asunder and precipitated me hither; where however I do not remain, +like the other inhabitants, totally destitute of hope, for an angel +of light hath revealed that, in consideration of the piety of my +early youth, my woes shall come to an end when this cataract shall +for ever cease to flow. Till then I am in torments, ineffable +torments! an unrelenting fire preys on my heart."</p> +<p>Having uttered this exclamation, Soliman raised his hands +towards Heaven in token of supplication, and the Caliph discerned +through his bosom, which was transparent as crystal, his heart +enveloped in flames. At a sight so full of horror, Nouronihar fell +back like one petrified into the arms of Vathek, who cried out with +a convulsive sob:--</p> +<p>"O Giaour! whither hast thou brought us? Allow us to depart, and +I will relinquish all thou hast promised. O Mahomet! remains there +no more mercy?"</p> +<p>"None! none!" replied the malicious Dive, "Know, miserable +prince! thou art now in the abode of vengeance and despair; thy +heart also will be kindled, like those of the other votaries of +Eblis. A few days are allotted thee previous to this fatal period. +Employ them as thou wilt: recline on these heaps of gold; command +the Infernal Potentates; range at thy pleasure through these +immense subterranean domains; no barrier shall be shut against +thee. As for me, I have fulfilled my mission; I now leave thee to +thyself." At these words he vanished.</p> +<p>The Caliph and Nouronihar remained in the most abject +affliction; their tears unable to flow, scarcely could they support +themselves. At length, taking each other despondingly by the hand, +they went faltering from this fatal hall, indifferent which way +they turned their steps. Every portal opened at their approach; the +Dives fell prostrate before them; every reservoir of riches was +disclosed to their view: but they no longer felt the incentives of +curiosity, pride, or avarice. With like apathy they heard the +chorus of Genii, and saw the stately banquets prepared to regale +them. They went wandering on from chamber to chamber, hall to hall, +and gallery to gallery, all without bounds or limit, all +distinguishable by the same lowering gloom, all adorned with the +same awful grandeur, all traversed by persons in search of repose +and consolation, but who sought them in vain; for every one carried +within him a heart tormented in flames. Shunned by these various +sufferers, who seemed by their looks to be upbraiding the partners +of their guilt, they withdrew from them, to wait in direful +suspense the moment which should render them to each other the like +objects of terror.</p> +<p>"What!" exclaimed Nouronihar; "will the time come when I shall +snatch my hand from thine?"</p> +<p>"Ah," said Vathek; "and shall my eyes ever cease to drink from +thine long draughts of enjoyment! Shall the moments of our +reciprocal ecstasies be reflected on with horror! It was not thou +that broughtest me hither: the principles by which Carathis +perverted my youth have been the sole cause of my perdition!" +Having given vent to these painful expressions, he called to an +Afrit, who was stirring up one of the braziers, and bade him fetch +the Princess Carathis from the palace of Samarah.</p> +<p>After issuing these orders, the Caliph and Nouronihar continued +walking amidst the silent crowd, till they heard voices at the end +of the gallery. Presuming them to proceed from some unhappy beings +who, like themselves, were awaiting their final doom, they followed +the sound, and found it to come from a small square chamber, where +they discovered sitting on sofas five young men of goodly figure, +and a lovely female, who were all holding a melancholy conversation +by the glimmering of a lonely lamp; each had a gloomy and forlorn +air, and two of them were embracing each other with great +tenderness. On seeing the Caliph and the daughter of Fakreddin +enter, they arose, saluted and gave them place; then he who +appeared the most considerable of the group addressed himself thus +to Vathek:</p> +<p>"Strangers!--who doubtless are in the same state of suspense +with ourselves, as you do not yet bear your hand on your heart,--if +you are come hither to pass the interval allotted previous to the +infliction of our common punishment, condescend to relate the +adventures that have brought you to this fatal place, and we in +return will acquaint you with ours, which deserve but too well to +be heard. We will trace back our crimes to their source, though we +are not permitted to repent; this is the only employment suited to +wretches like us!"</p> +<p>The Caliph and Nouronihar assented to the proposal, and Vathek +began, not without tears and lamentations, a sincere recital of +every circumstance that had passed. When the afflicting narrative +was closed, the young man entered on his own. Each person proceeded +in order, and when the fourth prince had reached the midst of his +adventures, a sudden noise interrupted him, which caused the vault +to tremble and to open.</p> +<p>Immediately a cloud descended, which, gradually dissipating, +discovered Carathis on the back of an Afrit, who grievously +complained of his burden. She, instantly springing to the ground, +advanced towards her son and said:--</p> +<p>"What dost thou here in this little square chamber? As the Dives +are become subject to thy beck, I expected to have found thee on +the throne of the pre-Adamite Kings."</p> +<p>"Execrable woman!" answered the Caliph; "cursed be the day thou +gavest me birth! Go, follow this Afrit, let him conduct thee to the +hall of the Prophet Soliman; there thou wilt learn to what these +palaces are destined, and how much I ought to abhor the impious +knowledge thou hast taught me."</p> +<p>"The height of power to which thou art arrived has certainly +turned thy brain," answered Carathis; "but I ask no more than +permission to show my respect for the Prophet. It is however proper +thou shouldest know that (as the Afrit has informed me neither of +us shall return to Samarah) I requested his permission to arrange +my affairs, and he politely consented: availing myself therefore of +the few moments allowed me, I set fire to the tower, and consumed +in it the mutes, negresses, and serpents which have rendered me so +much good service; nor should I have been less kind to Morakanabad, +had he not prevented me by deserting at last to my brother. As for +Bababalouk, who had the folly to return to Samarah, and all the +good brotherhood to provide husbands for thy wives, I undoubtedly +would have put them to the torture, could I but have allowed them +the time; being however in a hurry, I only hung him after having +caught him in a snare with thy wives, whilst them I buried alive by +the help of my negresses, who thus spent their last moments greatly +to their satisfaction. With respect to Dilara, who ever stood high +in my favor, she hath evinced the greatness of her mind by fixing +herself near in the service of one of the Magi, and I think will +soon be our own."</p> +<p>Vathek, too much cast down to express the indignation excited by +such a discourse, ordered the Afrit to remove Carathis from his +presence, and continued immersed in thought, which his companion +durst not disturb.</p> +<p>Carathis, however, eagerly entered the dome of Soliman, and +without regarding in the least the groans of the Prophet, +undauntedly removed the covers of the vases, and violently seized +on the talismans. Then, with a voice more loud than had hitherto +been heard within these mansions, she compelled the Dives to +disclose to her the most secret treasures, the most profound +stores, which the Afrit himself had not seen; she passed by rapid +descents known only to Eblis and his most favored potentates, and +thus penetrated the very entrails of the earth, where breathes the +Sansar, or icy wind of death. Nothing appalled her dauntless soul; +she perceived however in all the inmates, who bore their hands on +their hearts, a little singularity, not much to her taste. As she +was emerging from one of the abysses, Eblis stood forth to her +view; but notwithstanding he displayed the full effulgence of his +infernal majesty, she preserved her countenance unaltered, and even +paid her compliments with considerable firmness.</p> +<p>This superb Monarch thus answered:--"Princess, whose knowledge +and whose crimes have merited a conspicuous rank in my empire, thou +dost well to employ the leisure that remains; for the flames and +torments which are ready to seize on thy heart will not fail to +provide thee with full employment." He said this, and was lost in +the curtains of his tabernacle.</p> +<p>Carathis paused for a moment with surprise; but, resolved to +follow the advice of Eblis, she assembled all the choirs of Genii, +and all the Dives, to pay her homage; thus marched she in triumph +through a vapor of perfumes, amidst the acclamations of all the +malignant spirits, with most of whom she had formed a previous +acquaintance. She even attempted to dethrone one of the Solimans +for the purpose of usurping his place, when a voice proceeding from +the abyss of Death proclaimed, "All is accomplished!" +Instantaneously the haughty forehead of the intrepid princess was +corrugated with agony; she uttered a tremendous yell, and fixed, no +more to be withdrawn, her right hand upon her heart, which was +become a receptacle of eternal fire.</p> +<p>In this delirium, forgetting all ambitious projects and her +thirst for that knowledge which should ever be hidden from mortals, +she overturned the offerings of the Genii, and having execrated the +hour she was begotten and the womb that had borne her, glanced off +in a whirl that rendered her invisible, and continued to revolve +without intermission.</p> +<p>At almost the same instant the same voice announced to the +Caliph, Nouronihar, the five princes, and the princess, the awful +and irrevocable decree. Their hearts immediately took fire, and +they at once lost the most precious of the gifts of Heaven--Hope. +These unhappy beings recoiled with looks of the most furious +distraction; Vathek beheld in the eyes of Nouronihar nothing but +rage and vengeance, nor could she discern aught in his but aversion +and despair. The two princes who were friends, and till that moment +had preserved their attachment, shrunk back, gnashing their teeth +with mutual and unchangeable hatred. Kalilah and his sister made +reciprocal gestures of imprecation, whilst the two other princes +testified their horror for each other by the most ghastly +convulsions, and screams that could not be smothered. All severally +plunged themselves into the accursed multitude, there to wander in +an eternity of unabating anguish.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BEECHER"></a> +<h2>HENRY WARD BEECHER</h2> +<h3>(1813-1887)</h3> +<center>BY LYMAN ABBOTT</center> +<br> +<p class="par"><img src="images/letter-t.png" width="30%" alt= +""></p> +<p>he life of Henry Ward Beecher may be either compressed into a +sentence or expanded into a volume. He was born in Litchfield, +Connecticut, on the 24th day of June, 1813, the child of the +well-known Lyman Beecher; graduated at Amherst College in 1834, and +subsequently studied at Lane Theological Seminary (Cincinnati), of +which his father was the president; began his ministerial life as +pastor of a Home Missionary (Presbyterian) church at the little +village of Lawrenceburg, twenty miles south of Cincinnati on the +Ohio River; was both sexton and pastor, swept the church, built the +fires, lighted the lamps, rang the bell, and preached the sermons; +was called to the pastorate of the First Presbyterian Church of +Indianapolis, the capital of Indiana, where he remained for eight +years, 1839 to 1847, and where his preaching soon won for him a +reputation throughout the State, and his occasional writing a +reputation beyond its boundaries; thence was called in 1847 to be +the first pastor of the newly organized Plymouth Church, Brooklyn, +where he remained with an ever increasing reputation as preacher, +lecturer, orator, and writer, until the day of his death, March +8th, 1887.</p> +<p>Such is the outline of a life, the complete story of which would +be the history of the United States during the most critical +half-century of the nation's existence. Living in an epoch when the +one overshadowing political issue was pre-eminently a moral issue, +and when no man could be a faithful preacher of righteousness and +not a political preacher; concerned in whatever concerned humanity; +believing that love is the essence of all true religion, and that +love to God is impossible without love to man; moral reformer not +less than gospel preacher, and statesman even more than theologian: +throwing himself into the anti-slavery conflict with all the +courage of a heroic nature and all the ardor of an intensely +impulsive one,--he stands among the first half-score of writers, +orators, reformers, statesmen, and soldiers, who combined to make +the half-century from 1835 to 1885 as brilliant and as heroic as +any in human history.</p> +<p>The greatness of Henry Ward Beecher consisted not so much in a +predominance of any one quality as in a remarkable combination of +many. His physique justified the well-known characterization of Mr. +Fowler, the phrenologist, "Splendid animal." He was always an eager +student, though his methods were desultory. He was familiar with +the latest thought in philosophy, had studied Herbert Spencer +before his works were republished in the United States, yet was a +child among children, and in his old age retained the +characteristic faults and virtues of childhood, and its innocent +impulsiveness.</p> +<p>His imagination might have made him a poet, his human sympathies +a dramatic poet, had not his strong common-sense kept him always in +touch with the actualities of life, and a masterful conscience +compelled him to use his æsthetic faculties in sterner +service than in the entertainment of mankind. The intensity of his +moral nature enhanced rather than subdued his exuberant humor, +which love prevented from becoming satire, and seriousness +preserved from degenerating into wit. His native faculty of mimicry +led men to call him an actor, yet he wholly lacked the essential +quality of a good actor,--power to take on another's +character,--and used the mimic art only to interpret the truth +which at the moment possessed him.</p> +<p>Such power of passion as was his is not often seen mated to such +self-control; for while he spoke with utter abandon, he rarely if +ever did so until he had carefully deliberated the cause he was +espousing. He thought himself deficient in memory, and in fact +rarely borrowed illustrations from his reading either of history or +of literature; but his keenness of observation photographed living +scenes upon an unfading memory which years after he could and did +produce at will. All these contrary elements of his strangely +composite though not incongruous character entered into his +style,--or, to speak more accurately, his styles,--and make any +analysis of them within reasonable limits difficult, if not +impossible.</p> +<p>For the writer is known by his style as the wearer by his +clothes. Even if it be no native product of the author's mind, but +a conscious imitation of carefully studied models,--what I may call +a tailor-made style, fashioned in a vain endeavor to impart +sublimity to commonplace thinking,--the poverty of the author is +thereby revealed, much as the boor is most clearly disclosed when +wearing ill-at-ease, unaccustomed broadcloth. Mr. Beecher's style +was not artificial; its faults as well as its excellences were +those of extreme naturalness. He always wrote with fury; rarely did +he correct with phlegm. His sermons were published as they fell +from his lips,--correct and revise he would not. The too few +editorials which he wrote, on the eve of the Civil War, were +written while the press was impatiently waiting for them, were +often taken page by page from his hand, and were habitually left +unread by him to be corrected in proof by others.</p> +<br> +<a name="illus-1714.jpg"></a> +<p class="ctr"><a href="images/illus-1714.jpg"><img src= +"images/illus-1714.jpg" width="50%" alt=""></a></p> +<br> +<p>His lighter contributions to the New York Ledger were thrown off +in the same way, generally while the messenger waited to take them +to the editorial sanctum. It was his habit, whether unconscious or +deliberate I do not know, to speak to a great congregation with the +freedom of personal conversation, and to write for the press with +as little reserve as to an intimate friend. This habit of taking +the public into his confidence was one secret of his power, but it +was also the cause of those violations of conventionality in public +address which were a great charm to some and a grave defect to +others. There are few writers or orators who have addressed such +audiences with such effect, whose style has been so true and +unmodified a reflection of their inner life. The title of one of +his most popular volumes might be appropriately made the title of +them all--'Life Thoughts.'</p> +<p>But while his style was wholly unartificial, it was no product +of mere careless genius; carelessness never gives a product worth +possessing. The excellences of Mr. Beecher's style were due to a +careful study of the great English writers; its defects to a +temperament too eager to endure the dull work of correction. In his +early manhood he studied the old English divines, not for their +thoughts, which never took hold of him, but for their style, of +which he was enamored. The best characterization of South and +Barrow I ever heard he gave me once in a casual conversation. The +great English novelists he knew; Walter Scott's novels, of which he +had several editions in his library, were great favorites with him, +but he read them rather for the beauty of their descriptive +passages than for their romantic and dramatic interest. Ruskin's +'Modern Painters' he both used himself and recommended to others as +a text-book in the observation of nature, and certain passages in +them he read and re-read.</p> +<p>But in his reading he followed the bent of his own mind rather +than any prescribed system. Neither in his public utterances nor in +his private conversation did he indicate much indebtedness to +Shakespeare among the earlier writers, nor to Emerson or Carlyle +among the moderns. Though not unfamiliar with the greatest English +poets, and the great Greek poets in translations, he was less a +reader of poetry than of poetical prose. He had, it is true, not +only read but carefully compared Dante's 'Inferno' with Milton's +'Paradise Lost'; still it was not the 'Paradise Lost,' it was the +'Areopagitica' which he frequently read on Saturday nights, for the +sublimity of its style and the inspiration it afforded to the +imagination. He was singularly deficient in verbal memory, a +deficiency which is usually accompanied by a relatively slight +appreciation of the mere rhythmic beauty of literary form. It is my +impression that for amorous poems, such as Moore's songs, or even +Shakespeare's sonnets, and for purely descriptive poetry, such as +the best of 'Childe Harold' and certain poems of Wordsworth, he +cared comparatively little.</p> +<p>But he delighted in religious poetry, whether the religion was +that of the pagan Greek Tragedies, the mediaeval Dante, or the +Puritan Milton. He was a great lover of the best hymns, and with a +catholicity of affection which included the Calvinist Toplady, the +Arminian Wesley, the Roman Catholic Faber, and the Unitarian +Holmes. Generally, however, he cared more for poetry of strength +than for that of fancy or sentiment. It was the terrific strength +in Watts's famous hymn beginning</p> +<blockquote>"My thoughts on awful subjects dwell,<br> +Damnation and the dead,"</blockquote> +<p>which caused him to include it in the 'Plymouth Collection,' +abhorrent as was the theology of that hymn alike to his heart and +to his conscience.</p> +<p>In any estimate of Mr. Beecher's style, it must be remembered +that he was both by temperament and training a preacher. He was +brought up not in a literary, but in a didactic atmosphere. If it +were as true as it is false that art exists only for art's sake, +Mr. Beecher would not have been an artist. His art always had a +purpose; generally a distinct moral purpose. An overwhelming +proportion of his contributions to literature consists of sermons +or extracts from sermons, or addresses not less distinctively +didactic. His one novel was written avowedly to rectify some common +misapprehensions as to New England life and character. Even his +lighter papers, products of the mere exuberance of a nature too +full of every phase of life to be quiescent, indicated the +intensity of a purposeful soul, much as the sparks in a +blacksmith's shop come from the very vigor with which the artisan +is shaping on the anvil the nail or the shoe.</p> +<p>But Mr. Beecher was what Mr. Spurgeon has called him, "the most +myriad-minded man since Shakespeare"; and such a mind must both +deal with many topics, and if it be true to itself, exhibit many +styles. If one were to apply to Mr. Beecher's writings the methods +which have sometimes been applied by certain Higher Critics to the +Bible, he would conclude that the man who wrote the Sermons on +Evolution and Theology could not possibly have also written the +humorous description of a house with all the modern improvements. +Sometimes grave, sometimes gay, sometimes serious, sometimes +sportive, concentrating his whole power on whatever he was doing, +working with all his might but also playing with all his might, +when he is on a literary frolic the reader would hardly suspect +that he was ever dominated by a strenuous moral purpose. Yet there +were certain common elements in Mr. Beecher's character which +appeared in his various styles, though mixed in very different +proportions and producing very different combinations. Within the +limits of such a study as this, it must suffice to indicate in very +general terms some of these elements of character which appear in +and really produce his literary method.</p> +<p>Predominant among them was a capacity to discriminate between +the essentials and the accidentals of any subject, a philosophical +perspective which enabled him to see the controlling connection and +to discard quickly such minor details as tended to obscure and to +perplex. Thus a habit was formed which led him not infrequently to +ignore necessary limitations and qualifications, and to make him +scientifically inaccurate, though vitally and ethically true. It +was this quality which led critics to say of him that he was no +theologian, though it is doubtful whether any preacher in America +since Jonathan Edwards has exerted a greater influence on its +theology. But this quality imparted clearness to his style. He +always knew what he wanted to say and said it clearly. He sometimes +produced false impressions by the very strenuousness of his aim and +the vehemence of his passion; but he was never foggy, obscure, or +ambiguous.</p> +<p>This clearness of style was facilitated by the singleness of his +purpose. He never considered what was safe, prudent, or expedient +to say, never reflected upon the effect which his speech might have +on his reputation or his influence, considered only how he could +make his hearers apprehend the truth as he saw it. He therefore +never played with words, never used them with a double meaning, or +employed them to conceal his thoughts. He was indeed utterly +incapable of making a speech unless he had a purpose to accomplish; +when he tried he invariably failed; no orator ever had less ability +to roll off airy nothings for the entertainment of an audience.</p> +<p>Coupled with this clearness of vision and singleness of purpose +was a sympathy with men singularly broad and alert. He knew the way +to men's minds, and adapted his method to the minds he wished to +reach. This quality put him at once <i>en rapport</i> with his +auditors, and with men of widely different mental constitution. +Probably no preacher has ever habitually addressed so heterogeneous +a congregation as that which he attracted to Plymouth Church. In +his famous speech at the Herbert Spencer dinner he was listened to +with equally rapt attention by the great philosopher and by the +French waiters, who stopped in their service, arrested and held by +his mingled humor, philosophy, and restrained emotion. This human +sympathy gave a peculiar dramatic quality to his imagination. He +not only recalled and reproduced material images from the past with +great vividness, he re-created in his own mind the experiences of +men whose mold was entirely different from his own. As an +illustration of this, a comparison of two sermons on Jacob before +Pharaoh, one by Dr. Talmage, the other by Mr. Beecher, is +interesting and instructive. Dr. Talmage devotes his imagination +wholly to reproducing the outward circumstances,--the court in its +splendor and the patriarch with his wagons, his household, and his +stuff; this scene Mr. Beecher etches vividly but carelessly in a +few outlines, then proceeds to delineate with care the imagined +feelings of the king, awed despite his imperial splendor by the +spiritual majesty of the peasant herdsman. Yet Mr. Beecher could +paint the outer circumstances with care when he chose to do so. +Some of his flower pictures in 'Fruits, Flowers, and Farming' will +always remain classic models of descriptive literature, the more +amazing that some of them are portraits of flowers he had never +seen when he wrote the description.</p> +<p>While his imagination illuminated nearly all he said or wrote, +it was habitually the instrument of some moral purpose; he rarely +ornamented for ornament's sake. His pictures gave beauty, but they +were employed not to give beauty but clearness. He was thus saved +from mixed metaphors, the common fault of imaginative writings +which are directed to no end, and thus are liable to become first +lawless, then false, finally self-contradictory and absurd. The +massive Norman pillars of Durham Cathedral are marred by the +attempt which some architect has made to give them grace and beauty +by adding ornamentation. Rarely if ever did Mr. Beecher fall into +the error of thus mixing in an incongruous structure two +architectural styles. He knew when to use the Norman strength and +solidity, and when the Gothic lightness and grace.</p> +<p>Probably his keen sense of humor would have preserved him from +this not uncommon error. It is said that the secret of humor is the +quick perception of incongruous relations. This would seem to have +been the secret of Mr. Beecher's humor, for he had in an eminent +degree what the phrenologists call the faculty of comparison. This +was seen in his arguments, which were more often analogical than +logical; seen not less in that his humor was not employed with +deliberate intent to relieve a too serious discourse, but was +itself the very product of his seriousness. He was humorous, but +rarely witty, as, for the same reason, he was imaginative but not +fanciful. For both his imagination and his humor were the servants +of his moral purpose; and as he did not employ the one merely as a +pleasing ornament, so he never went out of his way to introduce a +joke or a funny story to make a laugh.</p> +<p>Speaking broadly, Mr. Beecher's style as an orator passed +through three epochs. In the first, best illustrated by his +'Sermons to Young Men,' preached in Indianapolis, his imagination +is the predominant faculty. Those sermons will remain in the +history of homiletical literature as remarkable of their kind, but +not as a pulpit classic for all times; for the critic will truly +say that the imagination is too exuberant, the dramatic element +sometimes becoming melodramatic, and the style lacking in +simplicity. In the second epoch, best illustrated by the Harper and +Brothers edition of his selected sermons, preached in the earlier +and middle portion of his Brooklyn ministry, the imagination is +still pervasive, but no longer predominant. The dramatic fire still +burns, but with a steadier heat. Imagination, dramatic instinct, +personal sympathy, evangelical passion, and a growing philosophic +thought-structure, combine to make the sermons of this epoch the +best illustration of his power as a popular preacher. In each +sermon he holds up a truth like his favorite opal, turning it from +side to side and flashing its opalescent light upon his +congregation, but so as always to show the secret fire at the heart +of it. In the third epoch, best illustrated by his sermons on +Evolution and Theology, the philosophic quality of his mind +predominates; his imagination is subservient to and the instrument +of clear statement, his dramatic quality shows itself chiefly in +his realization of mental conditions foreign to his own, and his +style, though still rich in color and warm with feeling, is +mastered, trained, and directed by his intellectual purpose. In the +first epoch he is the painter, in the second the preacher, in the +third the teacher.</p> +<p>Judgments will differ: in mine the last epoch is the best, and +its utterances will long live a classic in pulpit literature. The +pictures of the first epoch are already fading; the fervid oratory +of the second epoch depends so much on the personality of the +preacher, that as the one grows dim in the distance the other must +grow dim also; but the third, more enduring though less +fascinating, will remain so long as the heart of man hungers for +the truth and the life of God,--that is, for a rational religion, a +philosophy of life which shall combine reverence and love, and a +reverence and love which shall not call for the abdication of the +reason.</p> +<p class="sign"><img src="images/sign-291.png" width="60%" alt= +""></p> +<br> +<br> +<br> +<br> +<br> +<br> +<a name="BEECHER_01"></a> +<center><b>BOOK-STORES AND BOOKS</b></center> +<br> +<center>From 'Star Papers'</center> +<br> +<p>Nothing marks the increasing wealth of our times, and the growth +of the public mind toward refinement, more than the demand for +books. Within ten years the sale of common books has increased +probably two hundred per cent., and it is daily increasing. But the +sale of expensive works, and of library editions of standard +authors in costly bindings, is yet more noticeable. Ten years ago +such a display of magnificent works as is to be found at the +Appletons' would have been a precursor of bankruptcy. There was no +demand for them. A few dozen, in one little show-case, was the +prudent whole. Now, one whole side of an immense store is not only +filled with admirably bound library books, but from some +inexhaustible source the void continually made in the shelves is at +once refilled. A reserve of heroic books supply the places of those +that fall. Alas! where is human nature so weak as in a book-store! +Speak of the appetite for drink; or of a <i>bon vivant's</i> relish +for a dinner! What are these mere animal throes and ragings +compared with those fantasies of taste, those yearnings of the +imagination, those insatiable appetites of intellect, which +bewilder a student in a great bookseller's temptation-hall?</p> +<p>How easily one may distinguish a genuine lover of books from a +worldly man! With what subdued and yet glowing enthusiasm does he +gaze upon the costly front of a thousand embattled volumes! How +gently he draws them down, as if they were little children; how +tenderly he handles them! He peers at the title-page, at the text, +or the notes, with the nicety of a bird examining a flower. He +studies the binding: the leather,--russia, English calf, morocco; +the lettering, the gilding, the edging, the hinge of the cover! He +opens it and shuts it, he holds it off and brings it nigh. It +suffuses his whole body with book magnetism. He walks up and down +in a maze at the mysterious allotments of Providence, that gives so +much money to men who spend it upon their appetites, and so little +to men who would spend it in benevolence or upon their refined +tastes! It is astonishing, too, how one's necessities multiply in +the presence of the supply. One never knows how many things it is +impossible to do without till he goes to Windle's or Smith's +house-furnishing stores. One is surprised to perceive, at some +bazaar or fancy and variety store, how many <i>conveniences</i> he +needs. He is satisfied that his life must have been utterly +inconvenient aforetime. And thus too one is inwardly convicted, at +Appletons', of having lived for years without books which he is now +satisfied that one cannot live without!</p> +<p>Then, too, the subtle process by which the man convinces himself +that he can afford to buy. No subtle manager or broker ever saw +through a maze of financial embarrassments half so quick as a poor +book-buyer sees his way clear to pay for what he <i>must</i> have. +He promises himself marvels of retrenchment; he will eat less, or +less costly viands, that he may buy more food for the mind. He will +take an extra patch, and go on with his raiment another year, and +buy books instead of coats. Yea, he will write books, that he may +buy books! The appetite is insatiable. Feeding does not satisfy it. +It rages by the fuel which is put upon it. As a hungry man eats +first and pays afterward, so the book-buyer purchases and then +works at the debt afterward. This paying is rather medicinal. It +cures for a time. But a relapse takes place. The same longing, the +same promises of self-denial. He promises himself to put spurs on +both heels of his industry; and then, besides all this, he will +<i>somehow</i> get along when the time for payment comes! Ah! this +SOMEHOW! That word is as big as a whole world, and is stuffed with +all the vagaries and fantasies that Fancy ever bred upon Hope. And +yet, is there not some comfort in buying books, <i>to be</i> paid +for? We have heard of a sot who wished his neck as long as the worm +of a still, that he might so much the longer enjoy the flavor of +the draught! Thus, it is a prolonged excitement of purchase, if you +feel for six months in a slight doubt whether the book is honestly +your own or not. Had you paid down, that would have been the end of +it. There would have been no affectionate and beseeching look of +your books at you, every time you saw them, saying, as plain as a +book's eyes can say, "Do not let me be taken from you."</p> +<p>Moreover, buying books before you can pay for them promotes +caution. You do not feel quite at liberty to take them home. You +are married. Your wife keeps an account-book. She knows to a penny +what you can and what you cannot afford. She has no "speculation" +in <i>her</i> eyes. Plain figures make desperate work with airy +"<i>somehows</i>." It is a matter of no small skill and experience +to get your books home, and into their proper places, undiscovered. +Perhaps the blundering express brings them to the door just at +evening. "What is it, my dear?" she says to you. "Oh! nothing--a +few books that I cannot do without." That smile! A true housewife +that loves her husband can smile a whole arithmetic at him at one +look! Of course she insists, in the kindest way, in sympathizing +with you in your literary acquisition. She cuts the strings of the +bundle (and of your heart), and out comes the whole story. You have +bought a complete set of costly English books, full bound in calf, +extra gilt! You are caught, and feel very much as if bound in calf +yourself, and admirably lettered.</p> +<p>Now, this must not happen frequently. The books must be smuggled +home. Let them be sent to some near place. Then, when your wife has +a headache, or is out making a call, or has lain down, run the +books across the frontier and threshold, hastily undo them, stop +only for one loving glance as you put them away in the closet, or +behind other books on the shelf, or on the topmost shelf. Clear +away the twine and wrapping-paper, and every suspicious +circumstance. Be very careful not to be too kind. That often brings +on detection. Only the other day we heard it said, somewhere, "Why, +how good you have been lately. I am really afraid that you have +been carrying on mischief secretly." Our heart smote us. It was a +fact. That very day we had bought a few books which "we could not +do without." After a while you can bring out one volume, +accidentally, and leave it on the table. "Why, my dear, <i>what</i> +a beautiful book! Where <i>did</i> you borrow it?" You glance over +the newspaper, with the quietest tone you can command: +"<i>That</i>! oh! that is <i>mine</i>. Have you not seen it before? +It has been in the house these two months." and you rush on with +anecdote and incident, and point out the binding, and that peculiar +trick of gilding, and everything else you can think of; but it all +will not do; you cannot rub out that roguish, arithmetical smile. +People may talk about the equality of the sexes! They are not +equal. The silent smile of a sensible, loving woman will vanquish +ten men. Of course you repent, and in time form a habit of +repenting.</p> +<p>Another method which will be found peculiarly effective is to +make a <i>present</i> of some fine work to your wife. Of course, +whether she or you have the name of buying it, it will go into your +collection, and be yours to all intents and purposes. But it stops +remark in the presentation. A wife could not reprove you for so +kindly thinking of her. No matter what she suspects, she will say +nothing. And then if there are three or four more works which have +come home with the gift-book--they will pass through the favor of +the other.</p> +<p>These are pleasures denied to wealth and old bachelors. Indeed, +one cannot imagine the peculiar pleasure of buying books if one is +rich and stupid. There must be some pleasure, or so many would not +do it. But the full flavor, the whole relish of delight only comes +to those who are so poor that they must engineer for every book. +They sit down before them, and besiege them. They are captured. +Each book has a secret history of ways and means. It reminds you of +subtle devices by which you insured and made it yours, in spite of +poverty!</p> +<p>Copyrighted by Fords, Howard and Hulbert, New York.</p> +<br> +<a name="BEECHER_02"></a> +<center><b>SELECTED PARAGRAPHS</b></center> +<br> +<center>From 'Selections from the Published Works of Henry Ward +Beecher', compiled by Eleanor Kirk.</center> +<br> +<p>An intelligent conscience is one of the greatest of luxuries. It +can hardly be called a necessity, or how would the world have got +along as well as it has to this day?--SERMON: 'Conscience.'</p> +<p>A man undertakes to jump across a chasm that is ten feet wide, +and jumps eight feet; and a kind sympathizer says, "What is going +to be done with the eight feet that he did jump?" Well, what +<i>is</i> going to be done with it? It is one of those things which +must be accomplished in whole, or it is not accomplished at +all.--SERMON: 'The True Value of Morality.'</p> +<p>It is hard for a strong-willed man to bow down to a weak-willed +man. It is hard for an elephant to say his prayers to an +ant.--SERMON: 'The Reward of Loving.'</p> +<p>When Peter heard the cock crow, it was not the tail-feathers +that crew. The crowing came from the inside of the cock. Religion +is something more than the outward observances of the +church.--SERMON: 'The Battle of Benevolence.'</p> +<p>I have heard men, in family prayer, confess their wickedness, +and pray that God would forgive them the sins that they got from +Adam; but I do not know that I ever heard a father in family prayer +confess that he had a bad temper. I never heard a mother confess in +family prayer that she was irritable and snappish. I never heard +persons bewail those sins which are the engineers and artificers of +the moral condition of the family. The angels would not know what +to do with a prayer that began, "Lord, thou knowest that I am a +scold."--SERMON: 'Peaceableness.'</p> +<p>Getting up early is venerable. Since there has been a literature +or a history, the habit of early rising has been recommended for +health, for pleasure, and for business. The ancients are held up to +us for examples. But they lived so far to the east, and so near the +sun, that it was much easier for them than for us. People in Europe +always get up several hours before we do; people in Asia several +hours before Europeans do; and we suppose, as men go toward the +sun, it gets easier and easier, until, somewhere in the Orient, +probably they step out of bed involuntarily, or, like a flower +blossoming, they find their bed-clothes gently opening and turning +back, by the mere attraction of light.--'EYES AND EARS.'</p> +<p>There are some men who never wake up enough to swear a good +oath. The man who sees the point of a joke the day after it is +uttered,--because <i>he</i> never is known to act hastily, is he to +take credit for that?--SERMON: 'Conscience.'</p> +<p>If you will only make your ideal mean enough, you can every one +of you feel that you are heroic.--SERMON: 'The Use of Ideals.'</p> +<p>There is nothing more common than for men to hang one motive +outside where it can be seen, and keep the others in the background +to turn the machinery.--SERMON: 'Paul and Demetrius.'</p> +<p>Suppose I should go to God and say, "Lord, be pleased to give me +salad," he would point to the garden and say, "There is the place +to get salad; and if you are too lazy to work for it, you may go +without."--LECTURE-ROOM TALKS: 'Answers to Prayer.'</p> +<p>God did not call you to be canary-birds in a little cage, and to +hop up and down on three sticks, within a space no larger than the +size of the cage. God calls you to be eagles, and to fly from sun +to sun, over continents.--SERMON: 'The Perfect Manhood.'</p> +<p>Do not be a spy on yourself. A man who goes down the street +thinking of himself all the time, with critical analysis, whether +he is doing this, that, or any other thing,--turning himself over +as if he were a goose on a spit before a fire, and basting himself +with good resolutions,--is simply belittling himself.--'LECTURES ON +PREACHING.'</p> +<p>Many persons boil themselves down to a kind of molasses +goodness. How many there are that, like flies caught in some sweet +liquid, have got out at last upon the side of the cup, and crawl +along slowly, buzzing a little to clear their wings! Just such +Christians I have seen, creeping up the side of churches, +soul-poor, imperfect, and drabbled.--'ALL-SIDEDNESS IN CHRISTIAN +LIFE.'</p> +<p>No man, then, need hunt among hair-shirts; no man need seek for +blankets too short at the bottom and too short at the top; no man +need resort to iron seats or cushionless chairs; no man need shut +himself up in grim cells; no man need stand on the tops of towers +or columns,--in order to deny himself.--SERMON-'Problem of Joy and +Suffering in Life.'</p> +<p>Copyrighted by Fords, Howard and Hulbert, New York, 1887.</p> +<br> +<a name="BEECHER_03"></a> +<center><b>SERMON</b></center> +<br> +<center><b>POVERTY AND THE GOSPEL</b></center> +<br> +<center>TEXTS: Luke iv. 17-21, Matt. xi. 2-6</center> +<br> +<p>Here was Christ's profession of his faith; here is the history +also of his examination, to see whether he were fit to preach or +not. It is remarkable that in both these instances the most +significant indication that he had, both of his descent from God +and of his being worthy of the Messiahship, consisted in this +simple exposition of the line of his preaching,--that he took sides +with the poor, neglected, and lost. He emphasized this, that his +gospel was a gospel of mercy to the poor; and that word "poor," in +its most comprehensive sense, looked at historically, includes in +it everything that belongs to human misery, whether it be by reason +of sin or depravity, or by oppression, or by any other cause. This, +then, is the disclosure by Christ himself of the genius of +Christianity. It is his declaration of what the gospel meant.</p> +<p>It is still further interpreted when you follow the life of +Christ, and see how exactly in his conduct he interpreted, or +rather fortified, the words of the declaration. His earliest life +was that of labor and poverty, and it was labor and poverty in the +poorest districts of Palestine. The dignified, educated, and +aristocratic part of the nation dwelt in Judea, and the Athens of +Palestine was Jerusalem. There Christ spent the least part of his +life, and that in perpetual discussions. But in Galilee the most of +his miracles, certainly the earlier, were performed, and the most +of his discourses that are contained bodily in the gospels were +uttered. He himself carried out the declaration that the gospel was +for the poor. The very miracles that Christ performed were not +philosophical enigmas, as we look at them. They were all of them +miracles of mercy. They were miracles to those who were suffering +helplessly where natural law and artificial means could not reach +them. In every case the miracles of Christ were mercies, though we +look at them in a spirit totally different from that in which he +performed them.</p> +<p>In doing thus, Christ represented the best spirit of the Old +Testament. The Jewish Scriptures teach mercy, the very genius of +Jewish institutions was that of mercy, and especially to the poor, +the weak, the helpless. The crimes against which the prophets +thundered their severest denunciations were crimes upon the +helpless. It was the avarice of the rich, it was the unbounded lust +and cruelty of the strong, that were denounced by them. They did +not preach against human nature in general. They did not preach +against total depravity and the original condition of mankind. They +singled out violations of the law in the magistrate, in the king, +in rich men, everywhere, and especially all those wrongs committed +by power either unconsciously or with purpose, cruelty upon the +helpless, the defenseless, the poor and the needy. When Christ +declared that this was his ministry, he took his text from the Old +Testament; he spoke in its spirit. It was to preach the gospel to +the poor that he was sent. He had come into the world to change the +condition of mankind. Beginning at the top? No; beginning at the +bottom and working up to the top from the bottom.</p> +<p>When this view of the gospel enters into our understanding and +is fully comprehended by us, how exactly it fits in with the order +of nature, and with the order of the unfolding of human life and +human society! It takes sides with the poor; and so the universal +tendency of Providence and of history, slowly unfolded, is on the +whole going from low to high, from worse to better, and from good +toward the perfect. When we consider, we see that man begins as a +helpless thing, a baby zero without a figure before it; and every +step in life adds a figure to it and gives it more and more worth. +On the whole, the law of unfolding throughout the world is from +lower to higher; and though when applied to the population of the +globe it is almost inconceivable, still, with many back-sets and +reactions, the tendency of the universe is thus from lower to +higher. Why? Let any man consider whether there is not of necessity +a benevolent intelligence somewhere that is drawing up from the +crude toward the ripe, from the rough toward the smooth, from bad +to good, and from good through better toward best. The tendency +upward runs like a golden thread through the history of the whole +world, both in the unfolding of human life and in the unfolding of +the race itself. Thus the tendency of nature is in accordance with +the tendency of the gospel as declared by Jesus Christ, namely, +that it is a ministry of mercy to the needy.</p> +<p>The vast majority of mankind have been and yet are poor. There +are ten thousand men poor where there is one man even comfortably +provided for, body and soul, and hundreds of thousands where there +is one rich, taking the whole world together. The causes of poverty +are worthy a moment's consideration. Climate and soil have much to +do with it. Men whose winter lasts nine or ten months in the year, +and who have a summer of but one or two months, as in the extreme +north,--how could they amass property, how could they enlarge their +conditions of peace and of comfort? There are many parts of the +earth where men live on the borders of deserts, or in mountain +fastnesses, or in arctic rigors, where anything but poverty is +impossible, and where it requires the whole thought, genius, +industry, and foresight of men, the year round, just to feed +themselves and to live. Bad government, where men are insecure in +their property, has always been a very fertile source of poverty. +The great valley of Esdraelon in Northern Palestine is one of the +most fertile in the world, and yet famine perpetually stalks on the +heels of the population; for if you sow and the harvest waves, +forth come hordes of Bedouins to reap your harvest for you, and +leave you, after all your labor, to poverty and starvation. When a +man has lost his harvest in that way two or three times, and is +deprived of the reward of his labors, he never emerges from +poverty, but sinks into indolence; and that, by and by, breeds +apathetic misery. So where the government over-taxes its subjects, +as is the case in the Orient with perhaps nearly all of the +populations there to-day, it cuts the sinews and destroys all the +motives of industry; and without industry there can be neither +virtue, morality, nor religion in any long period. Wars breaking +out, from whatever cause, tend to absorb property, or to destroy +property, or to prevent the development of property. Yet, strange +as it may seem, the men who suffer from war are those whose +passions generally lead it on. The king may apply the spark, but +the combustion is with the common people. They furnish the army, +they themselves become destroyers; and the ravages of war, in the +history of the human family, have destroyed more property than it +is possible to enter into the thoughts of men to conceive.</p> +<p>But besides these external reasons of poverty, there are certain +great primary and fundamental reasons. Ignorance breeds poverty. +What is property? It is the product of intelligence, of skill, of +thought applied to material substances. All property is raw +material that has been shaped to uses by intelligent skill. Where +intelligence is low, the power of producing property is low. It is +the husbandman who thinks, foresees, plans, and calls on all +natural laws to serve him, whose farm brings forth forty, fifty, +and a hundred fold. The ignorant peasant grubs and groans, and +reaps but one handful where he has sown two. It is knowledge that +is the gold mine; for although every knowing man may not be able to +be a rich man, yet out of ignorance riches do not spring anywhere. +Ignorant men may be made the factors of wealth when they are guided +and governed by superior intelligence. Slave labor produced +gigantic plantations and estates. The slave was always poor, but +his master was rich, because the master had the intelligence and +the knowledge, and the slave gave the work. All through human +society, men who represent simple ignorance will be tools, and the +men who represent intelligence will be the master mechanics, the +capitalists. All society to-day is agitated with this question of +justice as between the laborer and the thinker. Now, it is no use +to kick against the pricks. A man who can only work and not think +is not the equal in any regard of the man who can think, who can +plan, who can combine, and who can live not for to-day alone, but +for to-morrow, for next month, for the next year, for ten years. +This is the man whose volume will just as surely weigh down that of +the unthinking man as a ton will weigh down a pound in the scale. +Avoirdupois is moral, industrial, as well as material, in this +respect; and the primary, most usual cause of unprosperity in +industrial callings therefore lies in the want of +intelligence,--either in the slender endowment of the man, or more +likely the want of education in his ordinary and average endowment. +Any class of men who live for to-day, and do not care whether they +know anything more than they did yesterday or last year--those men +may have a temporary and transient prosperity, but they are the +children of poverty just as surely as the decrees of God stand. +Ignorance enslaves men among men; knowledge is the creator of +liberty and wealth.</p> +<p>As with undeveloped intelligence, so the appetites of men and +their passions are causes of poverty. Men who live from the basilar +faculties will invariably live in inferior stations. The men who +represent animalism are as a general fact at the bottom. They may +say it is government, climate, soil, want of capital, they may say +what they please, but it is the devil of laziness that is in them, +or of passion, that comes out in eating, in gluttony, in drinking +and drunkenness, in wastefulness on every side. I do not say that +the laboring classes in modern society are poor because they are +self-indulgent, but I say that it unquestionably would be wise for +all men who feel irritated that they are so unprosperous, if they +would take heed to the moral condition in which they are living, to +self-denial in their passions and appetites, and to increasing the +amount of their knowledge and fidelity. Although moral conditions +are not the sole causes, they are principal causes, of the poverty +of the working classes throughout the world. It is their misfortune +as well as their fault; but it is the reason why they do not rise. +Weakness does not rise; strength does.</p> +<p>All these causes indicate that the poor need moral and +intellectual culture. "I was sent to preach the gospel to the +poor:" not to distribute provisions, not to relieve their wants; +that will be included, but that was not Christ's primary idea. It +was not to bring in a golden period of fruitfulness when men would +not be required to work. It was not that men should lie down on +their backs under the trees, and that the boughs should bend over +and drop the ripe fruit into their mouths. No such conception of +equality and abundance entered into the mind of the Creator or of +Him who represented the Creator. To preach the gospel to the poor +was to awaken the mind of the poor. It was to teach the poor--"Take +up your cross, deny yourselves, and follow me. Restrain all those +sinful appetites and passions, and hold them back by the power of +knowledge and by the power of conscience; grow, because you are the +sons of God, into the likeness of your Father." So he preached to +the poor. That was preaching prosperity to them. That was teaching +them how to develop their outward condition by developing their +inward forces. To develop that in men which should make them wiser, +purer, and stronger, is the aim of the gospel. Men have supposed +that the whole end of the gospel was reconciliation between God and +men who had fallen--though they were born sinners in their fathers +and grandfathers and ancestors; to reconcile them with God--as if +an abstract disagreement had been the cause of all this world's +trouble! But the plain facts of history are simply that men, if +they have not come from animals, have yet dwelt in animalism, and +that that which should raise them out of it was some such moral +influence as should give them the power of ascension into +intelligence, into virtue, and into true godliness. That is what +the gospel was sent for; good news, a new power that is kindled +under men, that will lift them from their low ignorances and +degradations and passions, and lift them into a higher realm; a +power that will take away all the poverty that needs to be taken +away. Men may be doctrinally depraved; they are much more depraved +practically. Men may need to be brought into the knowledge of God +speculatively; but what they do need is to be brought into the +knowledge of themselves practically. I do not say that the gospel +has nothing in it of this kind of spiritual knowledge; it is full +of it, but its aim and the reason why it should be preached is to +wake up in men the capacity for good things, industries, +frugalities, purities, moralities, kindnesses one toward another: +and when men are brought into that state they are reconciled. When +men are reconciled with the law of creation and the law of their +being, they are reconciled with God. Whenever a man is reconciled +with the law of knowledge, he is reconciled with the God of +knowledge, so far. Whenever a man is reconciled with the law of +purity he is so far reconciled with a God of purity. When men have +lifted themselves to that point that they recognize that they are +the children of God, the kingdom of God has begun within them.</p> +<p>Although the spirit and practice of the gospel will develop +charities, will develop physical comfort, will feed men, will heal +men, will provide for their physical needs, yet the primary and +fundamental result of the gospel is to develop man himself, not +merely to relieve his want on an occasion. It does that as a matter +of course, but that is scarcely the first letter of the alphabet. +"Seek ye first the kingdom of God and his righteousness, and all +these things [food and raiment] shall be added unto you." The way +to relieve a man is to develop him so that he will need no relief, +or to raise higher and higher the character of the help that he +demands.</p> +<p>In testing Christianity, then, I remark first that it is to be +tested not by creeds, but by conduct. The evidence of the gospel, +the reality of the gospel that is preached in schools or churches, +is to be found in the spirit that is developed by it, not in the +technical creeds that men have constructed out of it. The biography +of men who have died might be hung up in their sepulchres; but you +could not tell what kind of a man this one had been, just by +reading his life there--while he lay dead in dust before you. There +are thousands of churches that have a creed of Christianity hung up +in them, but the church itself is a sepulchre full of dead men's +bones; and indeed, many churches in modern times are gnawing the +bones of their ancestors, and doing almost nothing else.</p> +<p>The gospel, changed from a spirit of humanity into a +philosophical system of doctrine, is perverted. It is not the +gospel. The great heresy in the world of religion is a cold heart, +not a luminous head. It is not that intelligence is of no use in +religion. By no means. Neither would we wage a crusade against +philosophical systems of moral truth. But where the active sympathy +and humanity of loving hearts for living men, and for men in the +ratio in which they are low, is laid aside or diminished to a +minimum, and in its place is a well-elaborated philosophical system +of moral truths, hewn and jointed,--the gospel is gone. If you go +along the sea-shores, you will often find the shells of fish--the +fish dead and gone, the shells left. And if you go along the shores +of ecclesiastical organization, you will find multitudes of shells +of the gospel, out of which the living substance has gone long ago. +Organized Christianity--that is, the institutions of Christianity +have been in the first instance its power, and in the second +instance its damnation. The moment you substitute the machinery of +education for education itself, the moment you build schools and do +not educate, build colleges that do not increase knowledge in the +pupils, you have sacrificed the aim for the instrument by which you +were to gain that aim. In churches, the moment it is more important +to maintain buildings, rituals, ministers, chanters, and all the +paraphernalia of moral education than the spirit of personal +sympathy, the moment these are more sacred to men than is the +welfare of the population round about which they were set to take +care of, that very moment Christ is dead in that place; that very +moment religion in the midst of all its institutions has perished. +I am bound to say that in the history of the world, while religious +institutions have been valuable and have done a great deal of good, +they have perhaps done as much harm as good. There is scarcely one +single perversion of civil government, there is scarcely one single +persecution of men, there is scarcely a single one of the great +wars that have depopulated the globe, there is scarcely one great +heresy developed out of the tyranny of the church, that has not +been the fruit of institutional religion; while that spirit of +humanity which was to give the institution its motive power has to +a certain extent died out of it.</p> +<p>Secondly, churches organized upon elective affinities of men are +contrary to the spirit of the gospel. We may associate with men who +are of like taste with ours. We have that privilege. If men are +knowledgeable and intellectual, there is no sin in their choosing +for intimate companions and associates men of like pursuits and +like intellectual qualities. That is right. If men are rich, there +is no reason why men who hold like property should not confer with +each other, and form interests and friendships together. If men are +refined, if they have become æsthetic, there is no reason why +they should not associate in the realm of beauty, artists with +artists, nor why the great enjoyers of beauty should not be in +sympathy. Exit all these are not to be allowed to do it at the +price of abandoning common humanity; you have no right to make your +nest in the boughs of knowledge, and let all the rest of the world +go as it will. You have no right to make your home among those who +are polished and exquisite and fastidious in their tastes, whose +garments are beauty, whose house is a temple of art, and all whose +associations are of like kind, and neglect common humanity. You +have no right to shut yourself up in a limited company of those who +are like you in these directions, and let all the rest of men go +without sympathy and without care. It is a right thing for a man to +salute his neighbor who salutes him; but if you salute those who +salute you, says Christ, what thank have ye--do not even the +publicans so? It is no sin that a man, being intellectual in his +nature, should like intellectual people, and gratify that which is +divine and God-like in him; but if, because he likes intellectual +people, he loses all interest in ignorant people, it convicts him +of depravity and of moral perversion. When this is carried out to +such an extent that churches are organized upon sharp +classification, upon elective affinities, they not only cease to be +Christian churches, but they are heretical; not perhaps in +doctrine, but worse than that, heretical in heart.</p> +<p>The fact is that a church needs poor men and wicked men as much +as it does pure men and virtuous men and pious men. What man needs +is familiarity with universal human nature. He needs never to +separate himself from men in daily life. It is not necessary that +in our houses we should bring pestilential diseases or pestilential +examples, but somehow we must hold on to men if they are wicked; +somehow the circulation between the top and the bottom must be +carried on; somehow there must be an atoning power in the heart of +every true believer of the Lord Jesus Christ who shall say, looking +out and seeing that the world is lost, and is living in sin and +misery, "I belong to it, and it belongs to me." When you take the +loaf of society and cut off the upper crust, slicing it +horizontally, you get an elect church. Yes, it is the peculiarly +elect church of selfishness. But you should cut the loaf of society +from the top down to the bottom, and take in something of +everything. True, every church would be very much edified and +advantaged if it had in it scholarly men, knowledgeable men; but +the church is strong in proportion as it has in it something of +everything, from the very top to the very bottom.</p> +<p>Now, I do not disown creeds--provided they are my own! Well, you +smile; but that is the way it has been since the world began. No +denomination believes in any creed except its own. I do not say +that men's knowledge on moral subjects may not be formulated. I +criticize the formulation of beliefs from time to time, in this: +that they are very partial; that they are formed upon the knowledge +of a past age, and that that knowledge perishes while higher and +nobler knowledge comes in; that there ought to be higher and better +forms; and that while their power is relatively small, the power of +the spirit of humanity is relatively great. When I examine a +church, I do not so much care whether its worship is to the one God +or to the triune God. I do not chiefly care for the catechism, nor +for the confession of faith, although they are both interesting. I +do not even look to see whether it is a synagogue or a Christian +church--I do not care whether it has a cross over the top of it or +is Quaker plain. I do not care whether it is Protestant, Catholic, +or anything else. Let me read the living--- the living book! What +is the spirit of the people? How do they feel among each other? How +do they feel toward the community? What is their life and conduct +in regard to the great prime moral duty of man, "Love the Lord thy +God and thy neighbor as thyself," whether he be obscure or whether +he be smiling in the very plenitude of wealth and refinement? Have +you a heart for humanity? Have you a soul that goes out for men? +Are you Christ-like? Will you spend yourself for the sake of +elevating men who need to be lifted up? That is orthodox. I do not +care what the creed is. If a church has a good creed, that is all +the more felicitous; and if it has a bad creed, a good life cures +the bad creed.</p> +<p>One of the dangers of our civilization may be seen in the light +of these considerations. We are developing so much strength founded +on popular intelligence, and this intelligence and the incitements +to it are developing such large property interests, that if the +principle of elective affinity shall sort men out and classify +them, we are steering to the not very remote danger of the +disintegration of human society. I can tell you that the classes of +men who by their knowledge, refinement, and wealth think they are +justified in separating themselves, and in making a great void +between them and the myriads of men below them, are courting their +own destruction. I look with very great interest on the process of +change going on in Great Britain, where the top of society had all +the "blood," but the circulation is growing larger and larger, and +a change is gradually taking place in their institutions. The old +nobility of Great Britain is the lordliest of aristocracies +existing in the world. Happily, on the whole, a very noble class of +men occupy the high positions: but the spirit of suffrage, this +angel of God that so many hate, is coming in on them; and when +every man in Great Britain can vote, no matter whether he is poor +or rich, whether he has knowledge or no knowledge, there must be a +very great change. Before the great day of the Lord shall come, the +valleys are to go up and the mountains are to come down; and the +mountains have started already in Great Britain and must come down. +There may be an aristocracy in any nation,--that is to say, there +may be "best men"; there ought to be an aristocracy in every +community,--that is, an aristocracy of men who speak the truth, who +are just, who are intelligent: but that aristocracy will be like a +wave of the sea; it has to be reconstituted in every generation, +and the men who are the best in the State become the aristocracy of +that State. But where rank is hereditary, if political suffrage +becomes free and universal, aristocracy cannot live. The spirit of +the gospel is democratic. The tendency of the gospel is leveling; +leveling up, not down. It is carrying the poor and the multitude +onward and upward.</p> +<p>It is said that democracies have no great men, no heroic men. +Why is it so? When you raise the average of intelligence and power +in the community it is very hard to be a great man. That is to say, +when the great mass of citizens are only ankle-high, when among the +Lilliputians a Brobdingnagian walks, he is a great man. But when +the Lilliputians grow until they get up to his shoulder, he is not +so great a man as he was by the whole length of his body. So, make +the common people grow, and there is nobody tall enough to be much +higher.</p> +<hr style="width: 25%;"> +<p>The remarkable people of this world are useful in their way; but +the common people, after all, represent the nation, the age, and +the civilization. Go into any town or city: do not ask who lives in +that splendid house; do not say, This is a fine town, here are +streets of houses with gardens and yards, and everything that is +beautiful the whole way through. Go into the lanes, go into the +back streets, go where the mechanic lives; go where the day-laborer +lives. See what is the condition of the streets there. See what +they do with the poor, with the helpless, and the mean. If the top +of society bends perpetually over the bottom with tenderness, if +the rich and strong are the best friends of the poor and needy, +that is a civilized and a Christian community; but if the rich and +the wise are the cream and the great bulk of the population +skim-milk, that is not a prosperous community.</p> +<p>There is a great deal of irreligion in men, there is a great +deal of wickedness and depravity in men, but there are times when +it is true that the church is more dissipated than the dissipated +classes of the community. If there is one thing that stood out more +strongly than any other in the ministry of our Lord, it is the +severity with which he treated the exclusiveness of men with +knowledge, position, and a certain sort of religion, a religion of +particularity and carefulness; if there is one class of the +community against which he hurled his thunderbolts without mercy +and predicted woes, it was the scribes, Pharisees, scholars, and +priests of the temples. He told them in so many words, "The +publican and the harlot will enter the kingdom of God before you." +The worst dissipation in this world is the dry-rot of morality, and +of the so-called piety that separates men of prosperity and of +power from the poor and ignoble. They are our wards....</p> +<p>I am not a socialist. I do not preach riot. I do not preach the +destruction of property. I regard property as one of the sacred +things. The real property established by a man's own intelligence +and labor is the crystallized man himself. It is the fruit of what +his life-work has done; and not in vain, society makes crime +against it amongst the most punishable. But nevertheless, I warn +these men in a country like ours, where every man votes, whether he +came from Hungary, or from Russia, or from Germany, or from France +or Italy, or Spain or Portugal, or from the Orient,--from Japan and +China, because they too are going to vote! On the Niagara River, +logs come floating down and strike an island, and there they lodge +and accumulate for a little while, and won't go over. But the rains +come, the snows melt, the river rises, and the logs are lifted up +and down, and they go swinging over the falls. The stream of +suffrage of free men, having all the privileges of the State, is +this great stream. The figure is defective in this, that the log +goes over the Niagara Falls, but that is not the way the country is +going or will go.... There is a certain river of political life, +and everything has to go into it first or last; and if, in days to +come, a man separates himself from his fellows without sympathy, if +his wealth and power make poverty feel itself more poor and men's +misery more miserable, and set against him the whole stream of +popular feeling, that man is in danger. He may not know who +dynamites him, but there is danger; and let him take heed who is in +peril. There is nothing easier in the world than for rich men to +ingratiate themselves with the whole community in which they live, +and so secure themselves. It is not selfishness that will do it; it +is not by increasing the load of misfortune, it is not by wasting +substance in riotous living upon appetites and passions. It is by +recognizing that every man is a brother. It is by recognizing the +essential spirit of the gospel, "Love thy neighbor as thyself." It +is by using some of their vast power and riches so as to diffuse +joy in every section of the community.</p> +<p>Here then I close this discourse. How much it enrolls! How very +simple it is! It is the whole gospel. When you make an application +of it to all the phases of organization and classification of human +interests and developments, it seems as though it were as big as +the universe. Yet when you condense it, it all comes back to the +one simple creed: "Thou shalt love the Lord thy God with all thy +heart, and thy neighbor as thyself." Who is my neighbor? A certain +man went down to Jericho, and so on. That tells you who your +neighbor is. Whosoever has been attacked by robbers, has been +beaten, has been thrown down--by liquor, by gambling, or by any +form of wickedness; whosoever has been cast into distress, and you +are called on to raise him up--that is your neighbor. Love your +neighbor as yourself. That is the gospel.</p> +<br> +<a name="BEECHER_04"></a> +<center><b>A NEW ENGLAND SUNDAY</b></center> +<br> +<center>From 'Norwood'</center> +<br> +<p>It is worth all the inconveniences arising from the occasional +over-action of New England Sabbath observance, to obtain the full +flavor of a New England Sunday. But for this, one should have been +born there; should have found Sunday already waiting for him, and +accepted it with implicit and absolute conviction, as if it were a +law of nature, in the same way that night and day, summer and +winter, are parts of nature. He should have been brought up by +parents who had done the same thing, as <i>they</i> were by parents +even more strict, if that were possible; until not religious +persons peculiarly, but everybody--not churches alone, but society +itself, and all its population, those who broke it as much as those +who kept it--were stained through with the color of Sunday. Nay, +until Nature had adopted it, and laid its commands on all birds and +beasts, on the sun and winds, and upon the whole atmosphere; so +that without much imagination one might imagine, in a genuine New +England Sunday of the Connecticut River Valley stamp, that God was +still on that day resting from all the work which he had created +and made, and that all his work rested with him!</p> +<p>Over all the town rested the Lord's peace! The saw was ripping +away yesterday in the carpenter's shop, and the hammer was noisy +enough. Today there is not a sign of life there. The anvil makes no +music to-day. Tommy Taft's buckets and barrels give forth no +hollow, thumping sound. The mill is silent--only the brook +continues noisy. Listen! In yonder pine woods what a cawing of +crows! Like an echo, in a wood still more remote other crows are +answering. But even a crow's throat to-day is musical. Do they +think, because they have black coats on, that they are parsons, and +have a right to play pulpit with all the pine-trees? Nay. The birds +will not have any such monopoly,--they are all singing, and singing +all together, and no one cares whether his song rushes across +another's or not. Larks and robins, blackbirds and orioles, +sparrows and bluebirds, mocking cat-birds and wrens, were furrowing +the air with such mixtures as no other day but Sunday, when all +artificial and human sounds cease, could ever hear. Every now and +then a bobolink seemed impressed with the duty of bringing these +jangling birds into more regularity; and like a country +singing-master, he flew down the ranks, singing all the parts +himself in snatches, as if to stimulate and help the laggards. In +vain! Sunday is the birds' day, and they will have their own +democratic worship.</p> +<p>There was no sound in the village street. Look either way--not a +vehicle, not a human being. The smoke rose up soberly and quietly, +as if it said--It is Sunday! The leaves on the great elms hung +motionless, glittering in dew, as if they too, like the people who +dwelt under their shadow, were waiting for the bell to ring for +meeting. Bees sung and flew as usual; but honey-bees have a Sunday +way with them all the week, and could scarcely change for the +better on the seventh day.</p> +<p>But oh, the Sun! It had sent before and cleared every stain out +of the sky. The blue heaven was not dim and low, as on secular +days, but curved and deep, as if on Sunday it shook off all +incumbrance which during the week had lowered and flattened it, and +sprang back to the arch and symmetry of a dome. All ordinary sounds +caught the spirit of the day. The shutting of a door sounded twice +as far as usual. The rattle of a bucket in a neighbor's yard, no +longer mixed with heterogeneous noises, seemed a new sound. The +hens went silently about, and roosters crowed in psalm-tunes. And +when the first bell rung, Nature seemed overjoyed to find something +that it might do without breaking Sunday, and rolled the sound over +and over, and pushed it through the air, and raced with it over +field and hill, twice as far as on week-days. There were no less +than seven steeples in sight from the belfry, and the sexton +said:--"On still Sundays I've heard the bell, at one time and +another, when the day was fair, and the air moving in the right +way, from every one of them steeples, and I guess likely they've +all heard our'n."</p> +<p>"Come, Rose!" said Agate Bissell, at an even earlier hour than +when Rose usually awakened--"Come, Rose, it is the Sabbath. We must +not be late Sunday morning, of all days in the week. It is the +Lord's day."</p> +<p>There was little preparation required for the day. Saturday +night, in some parts of New England, was considered almost as +sacred as Sunday itself. After sundown on Saturday night no play, +and no work except such as is immediately preparatory to the +Sabbath, were deemed becoming in good Christians. The clothes had +been laid out the night before. Nothing was forgotten. The best +frock was ready; the hose and shoes were waiting. Every article of +linen, every ruffle and ribbon, were selected on Saturday night. +Every one in the house walked mildly. Every one spoke in a low +tone. Yet all were cheerful. The mother had on her kindest face, +and nobody laughed, but everybody made it up in smiling. The nurse +smiled, and the children held on to keep down a giggle within the +lawful bounds of a smile; and the doctor looked rounder and calmer +than ever; and the dog flapped his tail on the floor with a +softened sound, as if he had fresh wrapped it in hair for that very +day. Aunt Toodie, the cook (so the children had changed Mrs. Sarah +Good's name), was blacker than ever and shinier than ever, and the +coffee better, and the cream richer, and the broiled chickens +juicier and more tender, and the biscuit whiter, and the corn-bread +more brittle and sweet.</p> +<p>When the good doctor read the Scriptures at family prayer, the +infection of silence had subdued everything except the clock. Out +of the wide hall could be heard in the stillness the old clock, +that now lifted up its voice with unwonted emphasis, as if, +unnoticed through the bustling week, Sunday was its vantage ground, +to proclaim to mortals the swift flight of time. And if the old +pedant performed the task with something of an ostentatious +precision, it was because in that house nothing else put on +official airs, and the clock felt the responsibility of doing it +for the whole mansion.</p> +<p>And now came mother and catechism; for Mrs. Wentworth followed +the old custom, and declared that no child of hers should grow up +without catechism. Secretly, the doctor was quite willing, though +openly he played off upon the practice a world of good-natured +discouragement, and declared that there should be an opposition set +up--a catechism of Nature, with natural laws for decrees, and +seasons for Providence, and flowers for graces! The younger +children were taught in simple catechism. But Rose, having reached +the mature age of twelve, was now manifesting her power over the +Westminster Shorter Catechism; and as it was simply an achievement +of memory and not of the understanding, she had the book at great +advantage, and soon subdued every question and answer in it. As +much as possible, the doctor was kept aloof on such occasions. His +grave questions were not to edification, and often they caused Rose +to stumble, and brought down sorely the exultation with which she +rolled forth, "They that are effectually called do in this life +partake of justification, adoption, sanctification, and the several +benefits which in this life do either accompany or flow from +them."</p> +<p>"What do those words mean, Rose?"</p> +<p>"Which words, pa?"</p> +<p>"Adoption, sanctification, and justification?"</p> +<p>Rose hesitated, and looked at her mother for rescue.</p> +<p>"Doctor, why do you trouble the child? Of course she don't know +yet all the meaning. But that will come to her when she grows +older."</p> +<p>"You make a nest of her memory, then, and put words there, like +eggs, for future hatching?"</p> +<p>"Yes, that is it exactly: birds do not hatch their eggs the +minute they lay them. They wait."</p> +<p>"Laying eggs at twelve to be hatched at twenty is subjecting +them to some risk, is it not?"</p> +<p>"It might be so with eggs, but not with the catechism. That will +keep without spoiling a hundred years!"</p> +<p>"Because it is so dry?"</p> +<p>"Because it is so good. But do, dear husband, go away, and not +put notions in the children's heads. It's hard enough already to +get them through their tasks. Here's poor Arthur, who has been two +Sundays on one question, and has not got it yet."</p> +<p>Arthur, aforesaid, was sharp and bright in anything addressed to +his reason, but he had no verbal memory, and he was therefore +wading painfully through the catechism like a man in a deep-muddy +road; with this difference, that the man carries too much clay with +him, while nothing stuck to poor Arthur.</p> +<hr style="width: 25%;"> +<p>The beauty of the day, the genial season of the year, brought +forth every one; old men and their feebler old wives, young and +hearty men and their plump and ruddy companions,--young men and +girls and children, thick as punctuation points in Hebrew text, +filled the street. In a low voice, they spoke to each other in +single sentences.</p> +<p>"A fine day! There'll be a good congregation out to-day."</p> +<p>"Yes; we may expect a house full. How is Widow Cheney--have you +heard?"</p> +<p>"Well, not much better; can't hold out many days. It will be a +great loss to the children."</p> +<p>"Yes; but we must all die--nobody can skip his turn. Does she +still talk about them that's gone?"</p> +<p>"They say not. I believe she's sunk into a quiet way; and it +looks as if she'd go off easy."</p> +<p>"Sunday is a good day for dying--it's about the only journey +that speeds well on this day!"</p> +<p>There was something striking in the outflow of people into the +street, that till now had seemed utterly deserted. There was no +fevered hurry; no negligent or poorly dressed people. Every family +came in groups--old folks and young children; and every member +blossomed forth in his best apparel, like a rose-bush in June. Do +you know that man in a silk hat and new black coat? Probably it is +some stranger. No; it is the carpenter, Mr. Baggs, who was racing +about yesterday with his sleeves rolled up, and a dust-and-business +look in his face! I knew you would not know him. Adams Gardner, the +blacksmith,--does he not look every inch a judge, now that he is +clean-washed, shaved, and dressed? His eyes are as bright as the +sparks that fly from his anvil!</p> +<p>Are not the folks proud of their children? See what groups of +them! How ruddy and plump are most! Some are roguish, and cut +clandestine capers at every chance. Others seem like wax figures, +so perfectly proper are they. Little hands go slyly through the +pickets to pluck a tempting flower. Other hands carry hymn-books or +Bibles. But, carry what they may, dressed as each parent can +afford, is there anything the sun shines upon more beautiful than +these troops of Sunday children?</p> +<p>The old bell had it all its own way up in the steeple. It was +the licensed noise of the day. In a long shed behind the church +stood a score and half-score of wagons and chaises and +carryalls,--the horses already beginning the forenoon's work of +stamping and whisking the flies. More were coming. Hiram Beers had +"hitched up," and brought two loads with his new hack; and now, +having secured the team, he stood with a few admiring young fellows +about him, remarking on the people as they came up.</p> +<p>"There's Trowbridge--he'll git asleep afore the first prayer's +over. I don't b'lieve he's heerd a sermon in ten years. I've seen +him sleep standin' up in singin'.</p> +<p>"Here comes Deacon Marble,--smart old feller, ain't +he?--wouldn't think it, jest to look at him! Face looks like an ear +of last summer's sweet corn, all dried up; but I tell ye he's got +the juice in him yit! Aunt Polly's gittin' old, ain't she? They say +she can't walk half the time--lost the use of her limbs; but it's +all gone to her tongue. That's as good as a razor, and a sight +better 'n mine, for it never needs sharpenin'.</p> +<p>"Stand away, boys, there's 'Biah Cathcart. Good horses--not +fast, but mighty strong, just like the owner."</p> +<p>And with that Hiram touched his new Sunday hat to Mrs. Cathcart +and Alice; and as he took the horses by the bits, he dropped his +head and gave the Cathcart boys a look of such awful solemnity, all +except one eye, that they lost their sobriety. Barton alone +remained sober as a judge.</p> +<p>"Here comes 'Dot-and-Go-One' and his wife. They're my kind o' +Christians. She is a saint, at any rate."</p> +<p>"How is it with you, Tommy Taft?"</p> +<p>"Fair to middlin', thank'e. Such weather would make a hand-spike +blossom, Hiram."</p> +<p>"Don't you think that's a leetle strong, Tommy, for Sunday? +P'raps you mean afore it's cut?"</p> +<p>"Sartin; that's what I mean. But you mustn't stop me, Hiram. +Parson Buell 'll be lookin' for me. He never begins till I git +there."</p> +<p>"You mean you always git there 'fore he begins."</p> +<p>Next, Hiram's prying eyes saw Mr. Turfmould, the sexton and +undertaker, who seemed to be in a pensive meditation upon all the +dead that he had ever buried. He looked upon men in a mild and +pitying manner, as if he forgave them for being in good health. You +could not help feeling that he gazed upon you with a professional +eye, and saw just how you would look in the condition which was to +him the most interesting period of a man's earthly state. He walked +with a soft tread, as if he was always at a funeral; and when he +shook your hand, his left hand half followed his right, as if he +were about beginning to lay you out. He was one of the few men +absorbed by his business, and who unconsciously measured all things +from its standpoint.</p> +<p>"Good-morning, Mr. Turfmould! How's your health? How is business +with you?"</p> +<p>"Good--the Lord be praised! I've no reason to complain."</p> +<p>And he glided silently and smoothly into the church.</p> +<p>"There comes Judge Bacon, white and ugly," said the critical +Hiram. "I wonder what he comes to meetin' for. Lord knows he needs +it, sly, slippery old sinner! Face's as white as a lily; his +heart's as black as a chimney flue afore it's cleaned. He'll get +his flue burned out if he don't repent, that's certain. He don't +believe the Bible. They say he don't believe in God. Wal, I guess +it's pretty even between 'em. Shouldn't wonder if God didn't +believe in him neither."</p> +<p>As soon as the afternoon service was over, every horse on the +green knew that it was time for him to go home. Some grew restless +and whinnied for their masters. Nimble hands soon put them into the +shafts or repaired any irregularity of harness. Then came such a +scramble of vehicles to the church door for the older persons; +while young women and children, venturing further out upon the +green, were taken up hastily, that the impatient horses might as +soon as possible turn their heads homeward. Clouds of dust began to +arise along every outward-going road. In less than ten minutes not +a wagon or chaise was seen upon the village green. They were +whirling homeward at the very best pace that the horses could +raise. Stiff old steeds vainly essayed a nimbler gait, but gave it +up in a few rods, and fell back to the steady jog. Young horses, +tired of long standing, and with a strong yearning for evening +oats, shot along the level ground, rushed up the little hills, or +down upon the other side, in the most un-Sunday-like haste. The +scene was not altogether unlike the return from a military funeral, +<i>to</i> which men march with sad music and slow, but <i>from</i> +which they return nimbly marching to the most brilliant +quick-step.</p> +<p>In half an hour Norwood was quiet again. The dinner, on Sunday, +when for the sake of the outlying population the two services are +brought near together in the middle of the day, was usually +deferred till the ordinary supper hour. It was evident that the +tone of the day was changed. Children were not so strictly held in. +There was no loud talking, nor was laughing allowed, but a general +feeling sprung up around the table that the severer tasks of the +day were ended.</p> +<p>Devout and age-sobered people sat in a kind of golden twilight +of meditation. The minister, in his well-ordered house, tired with +a double service, mingled thoughts both glad and sad. His tasks +were ended. He was conscious that he had manfully done his best. +But that best doing, as he reflected upon it, seemed so poor, so +unworthy of the nobleness of the theme, and so relatively powerless +upon the stubborn stuff of which his people's dispositions were +made, that there remained a vague, unquiet sense of blame upon his +conscience.</p> +<p>It was Dr. Wentworth's habit to walk with his family in the +garden, early in the morning and late in the afternoon. If early, +Rose was usually his company; in the afternoon the whole family, +Agate Bissell always excepted. She had in full measure that +peculiar New England feeling that Sunday is to be kept by staying +in the house, except such time as is spent at church. And though +she never, impliedly even, rebuked the doctor's resort to his +garden, it was plain that deep down in her heart she thought it an +improper way of spending Sunday; and in that view she had the +secret sympathy of almost all the noteworthy villagers. Had any +one, upon that day, made Agate a visit, unless for some plain end +of necessity or mercy, she would have deemed it a personal +affront.</p> +<p>Sunday was the Lord's day. Agate acted as if any use of it for +her own pleasure would be literal and downright stealing.</p> +<p>"We have six days for our own work. We ought not to begrudge the +Lord one whole day."</p> +<p>Two circumstances distressed honest Agate's conscience. The one +was that the incursion of summer visitors from the city was tending +manifestly to relax the Sabbath, especially after the church +services. The other was that Dr. Wentworth would occasionally allow +Judge Bacon to call in and discuss with him topics suggested by the +sermons. She once expressed herself in this wise:--</p> +<p>"Either Sunday is worth keeping, or it is not. If you do keep +it, it ought to be strictly done. But lately Sunday is raveling out +at the end. We take it on like a summer dress, which in the morning +is clean and sweet, but at night it is soiled at the bottom and +much rumpled all over."</p> +<p>Dr. Wentworth sat with Rose on one side and her mother on the +other, in the honeysuckle corner, where the west could be seen, +great trees lying athwart the horizon and checkering the golden +light with their dark masses. Judge Bacon had turned the +conversation upon this very topic.</p> +<p>"I think our Sundays in New England are Puritan and Jewish more +than Christian. They are days of restriction rather than of +joyousness. They are fast days, not feast days."</p> +<p>"Do you say that as a mere matter of historical criticism, or do +you think that they could be improved practically?"</p> +<p>"Both. It is susceptible of proof that the early Christian +Sunday was a day of triumph and of much social joy. It would be +well if we could follow primitive example."</p> +<p>"Judge, I am hardly of your opinion. I should be unwilling to +see our New England Sunday changed, except perhaps by a larger +social liberty <i>in</i> each family. Much might be done to make it +attractive to children, and relieve older persons from +<i>ennui</i>. But after all, we must judge things by their fruits. +If you bring me good apples, it is in vain to abuse the tree as +craggy, rude, or homely. The fruit redeems the tree."</p> +<p>"A very comely figure, Doctor, but not very good reasoning. New +England has had something at work upon her beside her Sundays. What +you call the 'fruit' grew, a good deal of it at any rate, on other +trees than Sunday trees."</p> +<p>"You are only partly right. New England character and history +are the result of a wide-spread system of influences of which the +Sabbath day was the type--and not only so, but the grand motive +power. Almost every cause which has worked benignly among us has +received its inspiration and impulse largely from this One Solitary +Day of the week.</p> +<p>"It is true that all the vegetable growths that we see about us +here depend upon a great variety of causes; but there is one cause +that is the condition of power in every other, and that is the Sun! +And so, many as have been the influences working at New England +character, Sunday has been a generic and multiplex force, inspiring +and directing all others. It is indeed the <i>Sun's</i> day.</p> +<p>"It is a little singular that, borrowing the name from the +heathen calendar, it should have tallied so well with the Scripture +name, the Lord's day--that Lord who was the Morning Star in early +day, and at length the Sun of Righteousness!</p> +<p>"The Jews called it the Sabbath--a day of rest. Modern +Christians call it the <i>Sun's</i> day, or the day of light, +warmth, and growth. If this seems fanciful so far as the names of +the day are concerned, it is strikingly characteristic of the real +spirit of the two days, in the ancient and modern dispensation. I +doubt if the old Jews ever kept a Sabbath religiously, as we +understand that term. Indeed, I suspect there was not yet a +religious strength in that national character that could hold up +religious feeling without the help of social and even physical +adjuvants. Their religious days were either fasts or like our +Thanksgiving days. But the higher and richer moral nature which has +been developed by Christianity enables communities to sustain one +day in seven upon a high spiritual plane, with the need of but very +little social help, and without the feasting element at all."</p> +<p>"That may be very well for a few saints like you and me, Doctor, +but it is too high for the majority of men. Common people find the +strict Sundays a great annoyance, and clandestinely set them +aside."</p> +<p>"I doubt it. There are a few in every society that live by their +sensuous nature. Sunday must be a dead day to them--a dark room. No +wonder they break through. But it is not so with the sturdy, +unsophisticated laboring class in New England. If it came to a +vote, you would find that the farmers of New England would be the +defenders of the day, even if screwed up to the old strictness. +Their instinct is right. It is an observance that has always worked +its best effects upon the common people, and if I were to change +the name, I should call Sunday THE POOR MAN'S DAY.</p> +<p>"Men do not yet perceive that the base of the brain is full of +despotism, and the coronal brain is radiant with liberty. I mean +that the laws and relations which grow out of men's relations in +physical things are the sternest and hardest, and at every step in +the assent toward reason and spirituality, the relations grow more +kindly and free.</p> +<p>"Now, it is natural for men to prefer an animal life. By-and-by +they will learn that such a life necessitates force, absolutism. It +is natural for unreflecting men to complain when custom or +institutions hold them up to some higher degree. But that higher +degree has in it an element of emancipation from the necessary +despotisms of physical life. If it were possible to bring the whole +community up to a plane of spirituality, it would be found that +there and there only could be the highest measure of liberty. And +this is my answer to those who grumble at the restriction of Sunday +liberty. It is only the liberty of the senses that suffers. A +higher and nobler civil liberty, moral liberty, social liberty, +will work out of it. Sunday is the common people's Magna +Charta."</p> +<p>"Well done, Doctor! I give up. Hereafter you shall see me +radiant on Sunday. I must not get my hay in if storms do threaten +to spoil it; but I shall give my conscience a hitch up, and take it +out in that. I must not ride out; but then I shall regard every +virtuous self-denial as a moral investment with good dividends +coming in by-and-by. I can't let the children frolic in the front +dooryard; but then, while they sit waiting for the sun to go down, +and your <i>Sun</i>-day to be over, I shall console myself that +they are one notch nearer an angelic condition every week. But +good-night, good-night, Mrs. Wentworth. I hope you may not become +so spiritual as quite to disdain the body. I really think, for this +world, the body has some respectable uses yet. Good-night, Rose. +The angels take care of you, if there is one of them good +enough."</p> +<p>And so the judge left.</p> +<p>They sat silently looking at the sun, now but just above the +horizon. A few scarfs of cloud, brilliant with flame-color, and +every moment changing forms, seemed like winged spirits, half +revealed, that hovered round the retiring orb.</p> +<p>Mrs. Wentworth at length broke the silence.</p> +<p>"I always thought, Doctor, that you believed Sunday +over-strictly kept, and that you were in favor of relaxation."</p> +<p>"I am. Just as fast as you can make it a day of real religious +enjoyment, it will relax itself. True and deep spiritual feeling is +the freest of all experiences. And it reconciles in itself the most +perfect consciousness of liberty with the most thorough observance +of outward rules and proprieties. Liberty is not an outward +condition. It is an inward attribute, or rather a name for the +quality of life produced by the highest moral attributes. When +communities come to that condition, we shall see fewer laws and +higher morality.</p> +<p>"The one great poem of New England is her Sunday! Through that +she has escaped materialism. That has been a crystal dome overhead, +through which Imagination has been kept alive. New England's +imagination is to be found, not in art and literature, but in her +inventions, her social organism, and above all in her religious +life. The Sabbath has been the nurse of that. When she ceases to +have a Sunday, she will be as this landscape is:--now growing dark, +all its lines blurred, its distances and gradations fast merging +into sheeted darkness and night. Come, let us go in!"</p> +<p>Copyrighted by Fords, Howard and Hulbert.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BEETHOVEN"></a> +<h2>LUDWIG VAN BEETHOVEN</h2> +<h3>(1770-1827)</h3> +<center>BY E. IRENÆUS STEVENSON</center> +<br> +<p class="par"><img src="images/letter-w.png" width="30%" alt= +""></p> +<p>e are warned on high authority that no man can serve two +masters. The caution should obtain in æsthetics as well as in +ethics. As a general rule, the painter must stick to his easel, the +sculptor must carve, the musician must score or play or sing, the +actor must act,--each with no more than the merest coquettings with +sister arts. Otherwise his genius is apt to suffer from what are +side-issues for temperament. To many minds a taste, and even a +singular capacity, for an avocation has injured the work done in +the real vocation.</p> +<p class="rgt"><img src="images/image-321.png" width="45%" alt= +""><br> +<b>Beethoven.</b></p> +<p>Of course there are exceptions. The versatility has not always +been fatal. We recall Leonardo, Angelo, Rossetti, and Blake among +painters; in the ranks of musicians we note Hoffmann, Berlioz, +Schumann, Wagner, Boito. In other art-paths, such personal pages as +those of Cellini, and the critical writings of Story, of to-day, +may add their evidence. The essentially autobiographic in such a +connection must be accepted with reserve. So must be taken much +admirable writing as to the art in which the critic or teacher has +labored. Didactics are not necessarily literature. Perhaps the best +basis of determining the right to literary recognition of men and +women who have written and printed more or less without actually +professing letters, will be the interest of the matter they have +left to the kind of reader who does not care a pin about their real +life-work, or about their self-expression as it really comes down +to us.</p> +<p>In painting, the dual capacity--for the brush and for +letters--has more shining examples than in music. But with +Beethoven, Schumann, Boito, and Wagner, comes a striking succession +of men who, as to autobiography or criticism or verse, present a +high quality of interest to the general reader. In the instance of +Beethoven the critical or essayistic side is limited. It is by his +letters and diary that we study (only less vividly than in his +music) a character of profound depth and imposing nobility; a +nature of exquisite sensitiveness. In them we follow, if +fragmentarily, the battle of personality against environment, the +secrets of strong but high passion, the artist +temperament,--endowed with a dignity and a moral majesty seldom +equaled in an art indeed called divine, but with children who +frequently remind us that Pan absorbed in playing his syrinx has a +goat's hoof.</p> +<p>Beethoven in all his correspondence wrote himself down as what +he was,--a superior man, a mighty soul in many traits, as well as a +supreme creative musician. His letters are absorbing, whether they +breathe love or anger, discouragement or joy, rebellion against +untoward conditions of daily life or solemn resignation. The +religious quality, too, is strong in them; that element more in +touch with Deism than with one or another orthodoxy. Withal, he is +as sincere in every line of such matter as he was in the spoken +word. His correspondence holds up the mirror to his own nature, +with its extremes of impulse and reserve, of affection and +austerity, of confidence and suspicion. It abounds, too, in that +brusque yet seldom coarse humor which leaps up in the Finale of the +Seventh Symphony, in the Eighth Symphony's waggery, the last +movement of the Concerto in E flat. They offer likewise verbal +admissions of such depression of heart as we recognize in the +sternest episodes of the later Sonatas and of the Galitzin +Quartets, and in the awful Allegretto of the Symphony in A. They +hint at the amorous passion of the slow movements of the Fourth and +Ninth Symphonies, at the moral heroism of the Fifth, at the more +human courage of the 'Heroic,' at the mysticism of the Ninth's +tremendous opening. In interesting relation to the group, and +merely of superficial interest, are his hasty notes, his occasional +efforts to write in English or in French, his touches of musical +allusiveness.</p> +<br> +<a name="illus-1750.jpg"></a> +<p class="ctr"><a href="images/illus-1750.jpg"><img src= +"images/illus-1750.jpg" width="45%" alt=""></a><br> +<b>Beethoven.</b><br> +Photogravure from the Original Painting by C. Jäger.</p> +<br> +<p>It is not in the purpose of these prefatory paragraphs to a +too-brief group of Beethoven's letters to enter upon his biography. +That is essentially a musician's life; albeit the life of a +musician who, as Mr. Edward Dannreuther suggests, leaves behind him +the domain of mere art and enters upon that of the seer and the +prophet. He was born in Bonn in 1770, on a day the date of which is +not certain (though we know that his baptism was December 17th). +His youth was not a sunshiny period. Poverty, neglect, a drunken +father, violin lessons under compulsion, were the circumstances +ushering him into his career. He was for a brief time a pupil of +Mozart; just enough so to preserve that succession of royal +geniuses expressed in linking Mozart to Haydn, and in remembering +that Liszt played for Beethoven and that Schubert stood beside +Beethoven's last sick-bed. High patronage and interest gradually +took the composer under its care. Austria and Germany recognized +him, England accepted him early, universal intelligence became +enthusiastic over utterances in art that seemed as much innovations +as Wagneristic writing seemed to the next generation. In Vienna, +Beethoven may be said to have passed his life. There were the +friends to whom he wrote--who understood and loved him. Afflicted +early with a deafness that became total,--the irony of fate,--the +majority of his master-works were evolved from a mind shut away +from the pleasures and disturbances of earthly sounds, and beset by +invalidism and suffering. Naturally genial, he grew morbidly +sensitive. Infirmities of temper as well as of body marked him for +their own. But underneath all superficial shortcomings of his +intensely human nature was a Shakespearean dignity of moral and +intellectual individuality.</p> +<p>It is not necessary here even to touch on the works that follow +him. They stand now as firmly as ever--perhaps more firmly--in the +honor and the affection of all the world of auditors in touch with +the highest expressions in the tone-world. The mere mention of such +monuments as the sonatas, the nine symphonies, the Mass in D minor, +the magnificent chain of overtures, the dramatic concert-arias, +does not exhaust the list. They are the vivid self-expressions of +one who learned in suffering what he taught in song: a man whose +personality impressed itself into almost everything that he wrote, +upon almost every one whom he met, and who towers up as +impressively as the author of 'Hamlet,' the sculptor of 'Moses,' +the painter of 'The Last Supper.'</p> +<p>It is perhaps interesting to mention that the very chirography +of Beethoven's letters is eloquent of the man. Handwriting is apt +to be. Mendelssohn, the well-balanced, the precise, wrote like +copper-plate. Wagner wrote a fine strong hand, seldom with +erasures. Spontini, the soldier-like, wrote with the decision of a +soldier. Beethoven's letters and notes are in a large, open, +dashing hand, often scrawls, always with the blackest of ink, full +of changes, and not a flourish to spare--the handwriting of impulse +and carelessness as to form, compared with a writer's desire of +making his meaning clear.</p> +<p class="sign"><img src="images/sign-325.png" width="60%" alt= +""></p> +<br> +<br> +<br> +<br> +<br> +<br> +<a name="BEETHOVEN_01"></a> +<center><b>FROM LETTER TO DR. WEGELER, VIENNA</b></center> +<br> +<p>In what an odious light have you exhibited me to myself! Oh! I +acknowledge it, I do not deserve your friendship. It was no +intentional or deliberate malice that induced me to act towards you +as I did--but inexcusable thoughtlessness alone.</p> +<p>I say no more. I am coming to throw myself into your arms, and +to entreat you to restore me my lost friend; and you will give him +back to me, to your penitent, loving, and ever grateful</p> +<p>BEETHOVEN.</p> +<br> +<a name="BEETHOVEN_02"></a> +<center><b>TO THE SAME</b></center> +<br> +<center>VIENNA, June 29th, 1800.</center> +<br> +<p><i>My dear and valued Wegeler:</i></p> +<p>How much I thank you for your remembrance of me, little as I +deserve it or have sought to deserve it; and yet you are so kind +that you allow nothing, not even my unpardonable neglect, to +discourage you, always remaining the same true, good, and faithful +friend. That I can ever forget you or yours, once so dear and +precious to me, do not for a moment believe. There are times when I +find myself longing to see you again, and wishing that I could go +to stay with you. My fatherland, that lovely region where I first +saw the light, is still as distinct and beauteous in my eyes as +when I quitted you; in short, I shall esteem the time when I once +more see you, and again greet Father Rhine, as one of the happiest +periods of my life. When this may be I cannot yet tell, but at all +events I may say that you shall not see me again till I have become +not only eminent as an artist, but better and more perfect as a +man; and if the condition of our fatherland be then more +prosperous, my art shall be entirely devoted to the benefit of the +poor. Oh, blissful moment!--how happy do I esteem myself that I can +expedite it and bring it to pass!</p> +<p>You desire to know something of my position: well! it is by no +means bad. However incredible it may appear, I must tell you that +Lichnowsky has been, and still is, my warmest friend (slight +dissensions occurred occasionally between us, and yet they only +served to strengthen our friendship). He settled on me last year +the sum of six hundred florins, for which I am to draw on him till +I can procure some suitable situation. My compositions are very +profitable, and I may really say that I have almost more +commissions than it is possible for me to execute. I can have six +or seven publishers or more for every piece if I choose: they no +longer bargain with me--I demand, and they pay--so you see this is +a very good thing. For instance, I have a friend in distress, and +my purse does not admit of my assisting him at once, but I have +only to sit down and write, and in a short time he is relieved. I +am also become more economical than formerly....</p> +<p>To give you some idea of my extraordinary deafness, I must tell +you that in the theatre I am obliged to lean close up against the +orchestra in order to understand the actors, and when a little way +off I hear none of the high notes of instruments or singers. It is +most astonishing that in conversation some people never seem to +observe this; as I am subject to fits of absence, they attribute it +to that cause. Often I can scarcely hear a person if he speaks low; +I can distinguish the tones but not the words, and yet I feel it +intolerable if any one shouts to me. Heaven alone knows how it is +to end! Vering declares that I shall certainly improve, even if I +be not entirely restored. How often have I cursed my existence! +Plutarch led me to resignation. I shall strive if possible to set +Fate at defiance, although there must be moments in my life when I +cannot fail to be the most unhappy of God's creatures. I entreat +you to say nothing of my affliction to any one, not even to +Lorchen. I confide the secret to you alone, and entreat you some +day to correspond with Vering on the subject. If I continue in the +same state, I shall come to you in the ensuing spring, when you +must engage a house for me somewhere in the country, amid beautiful +scenery, and I shall then become a rustic for a year, which may +perhaps effect a change. Resignation!--what a miserable refuge! and +yet it is my sole remaining one. You will forgive my thus appealing +to your kindly sympathies at a time when your own position is sad +enough.</p> +<p>Farewell, my kind, faithful Wegeler! Rest assured of the love +and friendship of your</p> +<p>BEETHOVEN.</p> +<br> +<a name="BEETHOVEN_03"></a> +<center><b>FROM THE LETTERS TO BETTINA BRENTANO</b></center> +<br> +<p>Never was there a lovelier spring than this year; I say so, and +feel it too, because it was then I first knew you. You have +yourself seen that in society I am like a fish on the sand, which +writhes and writhes, but cannot get away till some benevolent +Galatea casts it back into the mighty ocean. I was indeed fairly +stranded, dearest friend, when surprised by you at a moment in +which moroseness had entirely mastered me; but how quickly it +vanished at your aspect! I was at once conscious that you came from +another sphere than this absurd world, where, with the best +inclinations, I cannot open my ears. I am a wretched creature, and +yet I complain of others!! You will forgive this from the goodness +of heart that beams in your eyes, and the good sense manifested by +your ears; at least they understand how to flatter, by the mode in +which they listen. My ears are, alas! a partition-wall, through +which I can with difficulty hold any intercourse with my +fellow-creatures. Otherwise perhaps I might have felt more assured +with you; but I was only conscious of the full, intelligent glance +from your eyes, which affected me so deeply that never can I forget +it. My dear friend! dearest girl!--Art! who comprehends it? with +whom can I discuss this mighty goddess? How precious to me were the +few days when we talked together, or, I should rather say, +corresponded! I have carefully preserved the little notes with your +clever, charming, most charming answers; so I have to thank my +defective hearing for the greater part of our fugitive intercourse +being written down. Since you left this I have had some unhappy +hours,--hours of the deepest gloom, when I could do nothing. I +wandered for three hours in the Schönbrunn Allée after +you left us, but no <i>angel</i> met me there to take possession of +me as you did. Pray forgive, my dear friend, this deviation from +the original key, but I must have such intervals as a relief to my +heart. You have no doubt written to Goethe about me? I would gladly +bury my head in a sack, so that I might neither see nor hear what +goes on in the world, because I shall meet you there no more; but I +shall get a letter from you? Hope sustains me, as it does half the +world; through life she has been my close companion, or what would +have become of me? I send you 'Kennst Du das Land,' written with my +own hand, as a remembrance of the hour when I first knew +you....</p> +<p>If you mention me when you write to Goethe, strive to find words +expressive of my deep reverence and admiration. I am about to write +to him myself with regard to 'Egmont,' for which I have written +some music solely from my love for his poetry, which always +delights me. Who can be sufficiently grateful to a great poet,--the +most precious jewel of a nation!</p> +<blockquote>Kings and princes can indeed create professors and +privy-councillors, and confer titles and decorations, but they +cannot make great men,--spirits that soar above the base turmoil of +this world. There their powers fail, and this it is that forces +them to respect us. When two persons like Goethe and myself meet, +these grandees cannot fail to perceive what such as we consider +great. Yesterday on our way home we met the whole Imperial family; +we saw them coming some way off, when Goethe withdrew his arm from +mine, in order to stand aside; and say what I would, I could not +prevail on him to make another step in advance. I pressed down my +hat more firmly on my head, buttoned up my great-coat, and crossing +my arms behind me, I made my way through the thickest portion of +the crowd. Princes and courtiers formed a lane for me; Archduke +Rudolph took off his hat, and the Empress bowed to me first. These +great ones of the earth <i>know me</i>. To my infinite amusement, I +saw the procession defile past Goethe, who stood aside with his hat +off, bowing profoundly. I afterwards took him sharply to task for +this; I gave him no quarter and upbraided him with all his +sins.</blockquote> +<br> +<a name="BEETHOVEN_04"></a> +<center><b>TO COUNTESS GIULIETTA GUICCIARDI</b></center> +<br> +<center>MONDAY EVENING, July 6th.</center> +<br> +<p>You grieve! dearest of all beings! I have just heard that the +letters must be sent off very early. Mondays and Thursdays are the +only days when the post goes to K---- from here. You grieve! Ah! +where I am, there you are ever with me: how earnestly shall I +strive to pass my life with you, and what a life will it be!!! +Whereas now!! without you!! and persecuted by the kindness of +others, which I neither deserve nor try to deserve! The servility +of man towards his fellow-man pains me, and when I regard myself as +a component part of the universe, what am I, what is he who is +called the greatest?--and yet herein are displayed the godlike +feelings of humanity!--I weep in thinking that you will receive no +intelligence from me till probably Saturday. However dearly you may +love me, I love you more fondly still. Never conceal your feelings +from me. Good-night! As a patient at these baths, I must now go to +rest. [A few words are here effaced by Beethoven himself.] Oh, +heavens! so near, and yet so far! Is not our love a truly celestial +mansion, but firm as the vault of heaven itself?</p> +<br> +<a name="BEETHOVEN_05"></a> +<center><b>JULY 7th.</b></center> +<p>Good morning!</p> +<p>Even before I rise, my thoughts throng to you, my immortal +beloved!--sometimes full of joy, and yet again sad, waiting to see +whether Fate will hear us. I must live either wholly with you, or +not at all. Indeed, I have resolved to wander far from you till the +moment arrives when I can fly into your arms, and feel that they +are my home, and send forth my soul in unison with yours into the +realm of spirits. Alas! it must be so! You will take courage, for +you know my fidelity. Never can another possess my heart--never, +never! Oh, heavens! Why must I fly from her I so fondly love? and +yet my existence in W--was as miserable as here. Your love made me +the most happy and yet the most unhappy of men. At my age, life +requires a uniform equality; can this be found in our mutual +relations? My angel! I have this moment heard that the post goes +every day, so I must conclude that you may get this letter the +sooner. Be calm! for we can only attain our object of living +together by the calm contemplation of our existence. Continue to +love me. Yesterday, to-day, what longings for you, what tears for +you! for you! for you! my life! my all! Farewell! Oh, love me for +ever, and never doubt the faithful heart of your lover, L.</p> +<p>Ever thine.</p> +<p>Ever mine.</p> +<p>Ever each other's.</p> +<br> +<a name="BEETHOVEN_06"></a> +<center><b>TO MY BROTHERS CARL AND JOHANN BEETHOVEN</b></center> +<br> +<center>HEILIGENSTADT, Oct. 6th, 1802.</center> +<br> +<p>Oh! Ye who think or declare me to be hostile, morose, and +misanthropical, how unjust you are, and how little you know the +secret cause of what appears thus to you! My heart and mind were +ever from childhood prone to the most tender feelings of affection, +and I was always disposed to accomplish something great. But you +must remember that six years ago I was attacked by an incurable +malady, aggravated by unskillful physicians, deluded from year to +year, too, by the hope of relief, and at length forced to the +conviction of a <i>lasting affliction</i> (the cure of which may go +on for years, and perhaps after all prove impracticable).</p> +<p>Born with a passionate and excitable temperament, keenly +susceptible to the pleasures of society, I was yet obliged early in +life to isolate myself, and to pass my existence in solitude. If I +at any time resolved to surmount all this, oh! how cruelly was I +again repelled by the experience, sadder than ever, of my defective +hearing!--and yet I found it impossible to say to others: Speak +louder, shout! for I am deaf! Alas! how could I proclaim the +deficiency of a sense which ought to have been more perfect with me +than with other men--a sense which I once possessed in the highest +perfection, to an extent indeed that few of my profession ever +enjoyed! Alas! I cannot do this! Forgive me therefore when you see +me withdraw from you with whom I would so gladly mingle. My +misfortune is doubly severe from causing me to be misunderstood. No +longer can I enjoy recreation in social intercourse, refined +conversation, or mutual outpourings of thought. Completely +isolated, I only enter society when compelled to do so. I must live +like an exile. In company I am assailed by the most painful +apprehensions, from the dread of being exposed to the risk of my +condition being observed. It was the same during the last six +months I spent in the country. My intelligent physician recommended +me to spare my hearing as much as possible, which was quite in +accordance with my present disposition, though sometimes, tempted +by my natural inclination for society, I allowed myself to be +beguiled into it. But what humiliation when any one beside me heard +a flute in the far distance, while I heard <i>nothing</i>, or when +others heard <i>a shepherd singing</i>, and I still heard +<i>nothing!</i> Such things brought me to the verge of desperation, +and well-nigh caused me to put an end to my life. <i>Art! art</i> +alone, deterred me. Ah! how could I possibly quit the world before +bringing forth all that I felt it was my vocation to produce? And +thus I spared this miserable life--so utterly miserable that any +sudden change may reduce me at any moment from my best condition +into the worst. It is decreed that I must now choose +<i>Patience</i> for my guide! This I have done. I hope the resolve +will not fail me, steadfastly to persevere till it may please the +inexorable Fates to cut the thread of my life. Perhaps I may get +better, perhaps not. I am prepared for either. Constrained to +become a philosopher in my twenty-eighth year! This is no slight +trial, and more severe on an artist than on any one else. God looks +into my heart, he searches it, and knows that love for man and +feelings of benevolence have their abode there! Oh! ye who may one +day read this, think that you have done me injustice; and let any +one similarly afflicted be consoled by finding one like himself, +who, in defiance of all the obstacles of nature, has done all in +his power to be included in the ranks of estimable artists and men. +My brothers Carl and Johann, as soon as I am no more, if Professor +Schmidt be still alive, beg him in my name to describe my malady, +and to add these pages to the analysis of my disease, that at +least, so far as possible, the world may be reconciled to me after +my death. I also hereby declare you both heirs of my small fortune +(if so it may be called). Share it fairly, agree together and +assist each other. You know that anything you did to give me pain +has been long forgiven. I thank you, my brother Carl in particular, +for the attachment you have shown me of late. My wish is that you +may enjoy a happier life, and one more free from care than mine has +been. Recommend <i>Virtue</i> to your children; that alone, and not +wealth, can insure happiness. I speak from experience. It was +<i>Virtue</i> alone which sustained me in my misery; I have to +thank her and Art for not having ended my life by suicide. +Farewell! Love each other. I gratefully thank all my friends, +especially Prince Lichnowsky and Professor Schmidt. I wish one of +you to keep Prince L--'s instruments; but I trust this will give +rise to no dissension between you. If you think it more beneficial, +however, you have only to dispose of them. How much I shall rejoice +if I can serve you even in the grave! So be it then! I joyfully +hasten to meet Death. If he comes before I have had the opportunity +of developing all my artistic powers, then, notwithstanding my +cruel fate, he will come too early for me, and I should wish for +him at a more distant period; but even then I shall be content, for +his advent will release me from a state of endless suffering. Come +when he may, I shall meet him with courage. Farewell! Do not quite +forget me, even in death: I deserve this from you, because during +my life I so often thought of you, and wished to make you happy. +Amen!</p> +<p>LUDWIG VAN BEETHOVEN.</p> +<br> +<p>[<i>Written on the outside</i>.]</p> +<p>Thus, then, I take leave of you, and with sadness too. The fond +hope I brought with me here, of being to a certain degree cured, +now utterly forsakes me. As autumn leaves fall and wither, so are +my hopes blighted. Almost as I came, I depart. Even the lofty +courage that so often animated me in the lovely days of summer is +gone forever. O Providence! vouchsafe me one day of pure felicity! +How long have I been estranged from the glad echo of true joy! +When! O my God! when shall I again feel it in the temple of nature +and of man?--never? Ah! that would be too hard!</p> +<p>To be read and fulfilled after my death by my brothers Carl and +Johann.</p> +<br> +<a name="BEETHOVEN_07"></a> +<center><b>TO THE ROYAL AND IMPERIAL HIGH COURT OF +APPEAL</b></center> +<br> +<center>JANUARY 7th, 1820.</center> +<br> +<p>The welfare of my nephew is dearer to my heart than it can be to +any one else. I am myself childless, and have no relations except +this boy, who is full of talent, and I have good grounds to hope +the best for him, if properly trained.</p> +<hr style="width: 25%;"> +<p>My efforts and wishes have no other aim than to give the boy the +best possible education--his abilities justifying the brightest +hopes--and to fulfill the trust placed in my brotherly love by his +father. The shoot is still flexible; but if longer neglected it +will become crooked and outgrow the gardener's training hand, and +upright bearing, intellect, and character be destroyed for +ever....</p> +<p>I know no duty more sacred than the education and training of a +child. The chief duties of a guardian consist in knowing how to +appreciate what is good, and in adopting a right course; then alone +has proper attention been devoted to the welfare of his ward, +whereas in opposing what is good he neglects his duty.</p> +<p>Indeed, keeping in view what is most for the benefit of the boy, +I do not object to the mother in so far sharing in the duties of a +guardian, that she may visit her son, and see him, and be apprised +of all the measures adopted for his education; but to intrust her +with his sole guardianship without a strict guardian by her side +would cause the irretrievable ruin of her son.</p> +<p>On these cogent grounds I reiterate my well-founded +solicitation, and feel the more confident of a favorable answer, as +the welfare of my nephew alone guides my steps in this affair.</p> +<br> +<a name="BEETHOVEN_08"></a> +<center><b>TO BARONESS VON DROSSDICK</b></center> +<br> +<p>I live in entire quiet and solitude; and even though occasional +flashes of light arouse me, still since you all left, I feel a +hopeless void which even my art, usually so faithful to me, has not +yet triumphed over. Your pianoforte is ordered, and you shall soon +have it. What a difference you must have discovered between the +treatment of the Theme I extemporized on the other evening, and the +mode in which I have recently written it out for you! You must +explain this yourself, only do not find the solution in the punch! +How happy you are to get away so soon to the country! I cannot +enjoy this luxury till the 8th. I look forward to it with the +delight of a child. What happiness I shall feel in wandering among +groves and woods, and among trees and plants and rocks! No man on +earth can love the country as I do! Thickets, trees, and rocks +supply the echo man longs for!</p> +<br> +<a name="BEETHOVEN_09"></a> +<center><b>TO ZMESKALL</b></center> +<br> +<center>1811.</center> +<br> +<p>Most high-born of men!</p> +<p>We beg you to confer some goose-quills on us; we will in return +send you a whole bunch of the same sort, that you may not be +obliged to pluck out your own. It is just possible that you may yet +receive the Grand Cross of the Order of the Violoncello. We remain +your gracious and most friendly of all friends, BEETHOVEN.</p> +<br> +<a name="BEETHOVEN_10"></a> +<center><b>TO ZMESKALL</b></center> +<br> +<center>FEBRUARY 2d, 1812.</center> +<br> +<p>Most wonderful of men!</p> +<p>We beg that your servant will engage a person to fit up my +apartment; as he is acquainted with the lodgings, he can fix the +proper price at once. Do this soon, you Carnival scamp!!!!!!!</p> +<p>The inclosed note is at least a week old.</p> +<br> +<a name="BEETHOVEN_11"></a> +<center><b>TO HIS BROTHER JOHANN</b></center> +<br> +<p>BADEN, May 6th, 1825.</p> +<p>The bell and bell-pulls, etc., etc., are on no account whatever +to be left in my former lodging. No proposal was ever made to these +people to take any of my things. Indisposition prevented my sending +for it, and the locksmith had not come during my stay to take down +the bell; otherwise it might have been at once removed and sent to +me in town, as they have no right whatever to retain it. Be this as +it may, I am quite determined not to leave the bell there, for I +require one here, and therefore intend to use the one in question +for my purpose, as a similar one would cost me twice as much as in +Vienna, bell-pulls being the most expensive things locksmiths have. +If necessary, apply at once to the police. The window in my room is +precisely in the same state as when I took possession, but I am +willing to pay for it, and also for the one in the kitchen, 2 +florins 12 kreuzers, for the two. The key I will not pay for, as I +found none; on the contrary, the door was fastened or nailed up +when I came, and remained in the same condition till I left; there +never was a key, so of course neither I myself, nor those who +preceded me, could make use of one. Perhaps it is intended to make +a collection, in which case I am willing to put my hand in my +pocket.</p> +<p>LUDWIG VAN BEETHOVEN.</p> +<br> +<a name="BEETHOVEN_12"></a> +<center><b>TO STEPHAN V. BREUNING</b></center> +<br> +<p><i>My dear and much loved Stephan</i>:</p> +<p>May our temporary estrangement be for ever effaced by the +portrait I now send. I know that I have rent your heart. The +emotion which you cannot fail now to see in mine has sufficiently +punished me for it. There was no malice towards you in my heart, +for then I should be no longer worthy of your friendship. It was +<i>passion</i> both on <i>your</i> part and on <i>mine</i>; but +mistrust was rife within me, for people had come between us, +unworthy both of <i>you</i> and of <i>me</i>.</p> +<p>My portrait was long ago intended for you; you knew that it was +destined for some one--and to whom could I give it with such warmth +of heart, as to you, my faithful, good, and noble Stephan?</p> +<p>Forgive me for having grieved you, but I did not myself suffer +less when I no longer saw you near me. I then first keenly felt how +dear you were, and ever will be to my heart. Surely you will once +more fly to my arms as you formerly did.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BELLMAN"></a> +<h2>CARL MICHAEL BELLMAN</h2> +<h3>(1740-1795)</h3> +<center>BY OLGA FLINCH</center> +<br> +<p class="par"><img src="images/letter-c.png" width="30%" alt= +""></p> +<p>arl Michael Bellman was born in Stockholm on the 4th of +February, 1740. His father, son of a professor at Upsala +University, held a government office; of his mother he wrote that +she was "fair as day, unspeakably good, dressed prettily, was kind +to everybody, of a refined nature, and had an excellent voice." +From her he undoubtedly inherited the warm, genial heart which +beats in every one of his songs. His father's house was the +rendezvous of many of the noted men of the day, among them the poet +Dalin, who was then at the zenith of his popularity. The boy's +unusual gifts were early recognized, and everything was done to +give him the best instruction, especially after an attack of fever, +during which he not only spoke in rhyme, but sang his first +improvised songs in a clear, true voice. The tutor who was then +chosen taught him, "besides the art of making verse," English, +French, German, and Italian; and he progressed far enough in these +studies to translate several German hymns and religious and +philosophic essays, no doubt influenced in this choice of subjects +by the religious atmosphere of his home. Moreover, he taught +himself to play the zither, and very soon began to pick out his own +melodies as an accompaniment to his songs. The instrument he used +had been brought home from Italy by his grandfather, became his +closest companion throughout life, and is now kept at the Royal +Academy of Arts at Stockholm.</p> +<p>At eighteen he entered the University of Upsala, and while there +wrote a satirical poem, "The Moon," which he submitted to the +criticism of Dalin, who however made but a single correction. It +was written in the manner of Dalin, and he continued to be +influenced by the latter until his twenty-fifth year. At this time, +and within the same year, his father and mother died, and seeking +among his friends the social stimulus which his nature craved, he +became a frequent guest at the inns in the company of Hallman and +Krexel, who were making their mark by their poetic and dramatic +writings. It was then that his peculiar talent came to its own; he +threw away all foreign influence and began to sing his songs, born +of the impression of the moment and full of the charm of +spontaneity. Some of them he jotted down quickly, most of them he +sang to the sound of his zither, often fashioning them to suit +well-known melodies, and again creating the melody with the words, +for the greater part set in a form of verse not previously used. +And so inseparably linked are words and melody, that it has not +occurred to any one to set any other music to Bellman's songs than +what he originally chose. He took all his characters out of the +life he saw around him; and with the appreciation of the man to +whom the present is everything, he seized the charm of the fleeting +moment and expressed it with such simplicity and truth, and deep +feeling withal, that it stands forth immortally fresh and young. A +number of these songs have probably been lost; he had no thirst for +fame, and took no pains to circulate them, but they found their way +to the public in written copies and cheap prints, and his name was +soon known throughout the country.</p> +<p>This way of living and singing like the birds of the air was, +however, not very conducive to the satisfaction of material wants. +He had made two attempts to go into business, but the more he was +seen at the inns, the less he was seen at his business.</p> +<p>Fortunately for him, Gustavus III., who was himself a poet, +became at this time king of Sweden. He was an adherent of the +French school of poetry, and Bellman's muse could hardly be said to +belong to this: but with considerable talent as a dramatic writer, +Gustavus appreciated the dramatic quality in Bellman's songs; and +when Bellman sent him a rhymed petition, still kept, in which he +wrote that "if his Majesty would not most graciously give him an +office, he would most obediently be obliged to starve to death +before Christmas," the king made him secretary of the lottery, with +the title of court secretary, and a yearly income of three thousand +dollars. Bellman promptly gave half of this to an assistant, who +did the work, and continued his troubadour life on the other half +with a superb disdain of future needs. His affairs so well in +order, he could afford to get married; and chose for his wife +Lovisa Grönlund, a girl of a bright intellect and strong +character, of which she ultimately had great need, the +responsibilities of their married life being left altogether to +her.</p> +<p>Bellman was now at his best; about this time he wrote most of +'Fredman's Songs' and 'Actions concerning the Chapter of Bacchus +order.' both rich in lyric gems; he was the favorite companion of +the King, to whom his devotion was boundless, and he was happy in +his chosen friends whose company inspired him. Nevertheless he was +now, as ever, in need of money. Atterbom tells that "One day the +King met him on the street, so poorly dressed that he instinctively +exclaimed, 'My dear Bellman, how poorly you are clad!' The poet +answered with a bow, 'I can nevertheless most obediently assure +your Majesty that I am wearing my entire wardrobe.'" His ready wit +never left him. "How goes the world with you?" asked the King once +when they met; "you don't look to me as if you could turn a single +rhyme to-day." The poet bowed and replied on the spur of the +moment:--</p> +<blockquote>"No scrip my purse doth hold;<br> +My lyre's unstrung, alas!<br> +But yet upon my glass<br> +Stands Gustaf's name in gold."</blockquote> +<p>Another time the King sent his men for him, with the order to +bring him in whatever condition they found him. "He was found not +entirely free from drink, and not very presentable, but was +nevertheless carried off, zither and all, to Haga Castle, where he +drank some champagne, sang some songs, drank a little more, and +finally fell asleep. The King left him so to go to his supper; and +when he returned and found his guest still sleeping, he remarked, +'I wonder what Bellman would say if I awoke him now and asked him +to give me a song.' The poet sat up, blinked with his eyes, and +said, 'Then Bellman would say,--listen;' whereupon he sang to the +tune of 'Malbrouck s'en va-t-en guerre':--</p> +<blockquote> "'Oh, so heavily, heavily trailing,<br> + The clouds over Haga are sailing,<br> +And the stars their bright glances are veiling,<br> + While woods in the gloom disappear.<br> + Go, +King, thy rest is dear,<br> + Go, +King, thy respite taking,<br> +Rest softly, rest softly, then waking,<br> +When dawn through the darkness is breaking,<br> + Thy people with mild rule thou +cheer!'</blockquote> +<p>Then he fell into his former position again, and was carried +home asleep with a little gift in his hand."</p> +<p>The task of collecting, preserving, and publishing his works +fell entirely upon his friends; if it had depended on him, they +would probably never have been collected, much less published.</p> +<p>During the last fifteen years of his life, from 1780 to 1795, +his health grew very poor. In 1791 he was invited to be present at +the distribution of degrees at Upsala, and at the dinner he +returned a toast with a song born of the moment; but his voice had +grown so weak from lung trouble that only those nearest to him +could hear him. To add to his sufferings, he had to meet the great +sorrow of his King's death at the hand of a murderer, and his poem +on the 'Death and Memory of the King' was not of a nature to make +friends for him at the new court. Thus it happened that, poor and +broken in health, he was put into the debtor's prison in the very +castle where he had been so happy a guest. Hallman and Krexel and +others of his best friends, as devoted to him as ever, were unable +to obtain his release; but he was at last bailed out by some one, +who as recompense asked him to sing one of his jolly songs, and in +his poor broken voice he sang. 'Drink out thy glass, see, Death +awaits thee.' Atterbom remarks about the man in question, "And +maybe he did not find that song so jolly after all."</p> +<p>While in prison he sent in a petition to the King,--somewhat +different from his first petition to Gustavus III.,--in which he +asked permission to live in the castle until his death. The +following is one of the verses:--</p> +<blockquote>"Spring commands; the birds are singing,<br> + Bees are swarming, fishes play;<br> + Now and then the zephyrs stray,<br> +Breath of life the poet bringing.<br> +Lift my load of sorrow clinging,<br> + Spare me one small nook, I pray."</blockquote> +<p>Of his death Atterbom writes as follows:--</p> +<blockquote>"He had been the favorite of the nation and the King, +content with the mere necessities of life, free from every care, +not even desiring the immortality of fame; moderate in everything +except in enthusiasm, he had enjoyed to the full what he +wanted,--friendship, wine, and music. Now he lived to see the +shadows fall over his life and genius. Feeling that his last hour +was not far off, he sent word to his nearest friends that a meeting +with them as in old times would be dear to him. He came to meet +them almost a shadow, but with his old friendly smile; even in the +toasts he took part, however moderately, and then he announced that +he would let them 'hear Bellman once more.' The spirit of song took +possession of him, more powerfully than ever, and all the rays of +his dying imagination were centred in an improvised good-by song. +Throughout an entire night, under continual inspiration, he sang +his happy life, his mild King's glory, his gratitude to Providence, +who let him be born among a noble people in this beautiful Northern +country,--finally he gave his grateful good-by to every one +present, in a separate strophe and melody expressing the peculiar +individuality of the one addressed and his relation to the poet. +His friends begged him with tears to stop, and spare his already +much weakened lungs; but he replied, 'Let us die, as we have lived, +in music!'--emptied his last glass of champagne, and began at dawn +the last verse of his song."</blockquote> +<p>After this he sang no more. A few days later he went to bed, +lingered for ten weeks, and died on the 11th of February, 1795, +aged fifty-four years. He was buried in Clara cemetery.</p> +<p>Bellman's critics have given themselves much trouble about his +personal character. Some have thought him little better than a +coarse drunkard; others again have made him out a cynic who sneered +at the life he depicted; again others have laid the weight on the +note found in 'Drink out thy glass,' and have seen only the +underlying sad pathos of his songs. His contemporaries agree that +he was a man of great consideration for form, and assert that if +there are coarse passages in his songs it is because they only +could express what he depicted. All coarseness was foreign to his +nature; he was reserved and somewhat shy, and only in the company +of his chosen few did he open his heart.</p> +<p>His critics have, moreover, assiduously sought the moral of his +works. If any was intended, it may have been that of fighting +sentimentality and all false feeling; but it seems more in +accordance with his entire life that he sang out of the fullness of +his heart, as a bird sings, simply because it must sing.</p> +<p class="sign"><img src="images/sign-341.png" width="50%" alt= +""></p> +<br> +<br> +<br> +<br> +<br> +<br> +<br> +<a name="BELLMAN_01"></a> +<div class="poem"> +<div class="stanza"> +<p class="i9"><b>TO ULLA</b></p> +</div> +<div class="stanza"> +<p class="i3">Ulla, mine Ulla, tell me, may I hand thee</p> +<p class="i4">Reddest of strawberries in milk or wine?</p> +<p class="i3">Or from the pond a lively fish? Command me!</p> +<p class="i4">Or, from the well, a bowl of water fine?</p> +<p class="i3">Doors are blown open, the wind gets the blaming.</p> +<p class="i4">Perfumes exhale from flower and tree.</p> +<p class="i3">Clouds fleck the sky and the sun rises flaming,</p> +<p class="i8">As you see!</p> +<p class="i2">Isn't it heavenly--the fish market? So?</p> +<p class="i6">"Heavenly, oh heavenly!"</p> +<p class="i2">"See the stately trees there, standing row on +row,--</p> +<p class="i6">Fresh, green leaves show!</p> +<p class="i6">And that pretty bay</p> +<p class="i7">Sparkling there?" "Ah yes!"</p> +<p class="i6">"And, seen where sunbeams play,</p> +<p class="i7">The meadows' loveliness?</p> +<p class="i1">Are they not heavenly--those bright +fields?--Confess!"--</p> +<p class="i9">Heavenly!</p> +<p class="i9">Heavenly!</p> +</div> +<div class="stanza"> +<p class="i3">Skål and good-noon, fair one in window +leaning,</p> +<p class="i4">Hark how the city bells their peals prolong!</p> +<p class="i3">See how the dust the verdant turf is screening,</p> +<p class="i4">Where the calashes and the wagons throng!</p> +<p class="i3">Hand from the window--he's drowsy, the speaker,</p> +<p class="i5">In my saddle I nod, cousin mine--</p> +<p class="i5">Primo a crust, and secundo a beaker,</p> +<p class="i8">Hochländer wine!</p> +<p class="i2">Isn't it heavenly--the fish-market? So?</p> +<p class="i6">"Heavenly, oh heavenly!"</p> +<p class="i2">"See the stately trees there, standing row on +row,--</p> +<p class="i6">Fresh, green leaves show!</p> +<p class="i6">And that pretty bay</p> +<p class="i7">Sparkling there?" "Ah yes!"</p> +<p class="i6">"And, seen where sunbeams play,</p> +<p class="i7">The meadows' loveliness?</p> +<p class="i1">Are they not heavenly--those bright +fields?--Confess!"--</p> +<p class="i9">Heavenly!</p> +<p class="i9">Heavenly!</p> +</div> +<div class="stanza"> +<p class="i3">Look, Ulla dear! To the stable they're taking</p> +<p class="i4">Whinnying, prancing, my good steed, I see.</p> +<p class="i3">Still in his stall-door he lifts his head, making</p> +<p class="i4">Efforts to look up to thee: just to thee!</p> +<p class="i3">Nature itself into flames will be bursting;</p> +<p class="i5">Keep those bright eyes in control!</p> +<p class="i2">Klang! at your casement my heart, too, is +thirsting.</p> +<p class="i6">Klang! Your Skål!</p> +<p class="i2">Isn't it heavenly--the fish-market? So?</p> +<p class="i6">"Heavenly, oh heavenly!"</p> +<p class="i2">"See the stately trees there, standing row on +row,--</p> +<p class="i6">Fresh, green leaves show!</p> +<p class="i6">And that pretty bay</p> +<p class="i7">Sparkling there?" "Ah yes!"</p> +<p class="i6">"And, seen where sunbeams play,</p> +<p class="i7">The meadows' loveliness?</p> +<p class="i1">Are they not heavenly--those bright +fields?--Confess!"--</p> +<p class="i9">Heavenly!</p> +<p class="i9">Heavenly!</p> +</div> +</div> +<br> +<br> +<a name="BELLMAN_02"></a> +<blockquote><b>CRADLE-SONG FOR MY SON CARL</b><br> +<br> +Little Carl, sleep soft and sweet:<br> + Thou'lt soon enough be waking;<br> +Soon enough ill days thou'lt meet,<br> + Their bitterness partaking.<br> +Earth's an isle with grief o'ercast;<br> +Breathe our best, death comes at last,<br> + We but dust forsaking.<br> +<br> +Once, where flowed a peaceful brook<br> + Through a rye-field's stubble,<br> +Stood a little boy to look<br> + At himself; his double.<br> +Sweet the picture was to see;<br> +All at once it ceased to be;<br> + Vanished like a bubble!<br> +<br> +And thus it is with life, my pet,<br> + And thus the years go flying;<br> +Live we wisely, gaily, yet<br> + There's no escape from dying.<br> +Little Carl on this must muse<br> +When the blossoms bright he views<br> + On spring's bosom lying.<br> +<br> +Slumber, little friend so wee;<br> + Joy thy joy is bringing.<br> +Clipped from paper thou shalt see<br> + A sleigh, and horses springing;<br> +Then a house of cards so tall<br> +We will build and see it fall,<br> + And little songs be singing.</blockquote> +<br> +<br> +<hr style="width: 25%;"> +<a name="BELLMAN_03"></a> +<center><b>AMARYLLIS</b><br> +<br> +Up, Amarylis! Darling, awaken!<br> +Through the still bracken<br> +Soft airs swell;<br> +Iris, all dightly,<br> +Vestured so brightly,<br> +Coloreth lightly<br> +Wood and dell.<br> +Amaryllis, thy sweet name pronouncing,<br> +Thee in Neptune's cool embrace announcing.<br> +Slumber's god the while his sway renouncing,<br> +O'er your eyes sighs, and speech yields his spell.<br> +<br> +Now comes the fishing! The net we fasten;<br> +This minute hasten!<br> +Follow me!<br> +Don your skirt and jacket<br> +And veil, or you'll lack it;<br> +Pike and trout wait a racket;<br> +Sails flap free.<br> +Waken, Amaryllis, darling, waken!<br> +Let me not by thy smile be forsaken:<br> +Then by dolphins and fair sirens overtaken,<br> +In our gay boat we'll sport in company.<br> +<br> +Come now, your rods, lines, and nets with you taking!<br> +The day is breaking;<br> +Hasten thee nigh!<br> +Sweet little treasure,<br> +Think ill in no measure;<br> +For thee 'twere no pleasure<br> +Me to deny.<br> +Let us to the little shallows wander,<br> +Or beside the inlet over yonder,<br> +Where the pledge-knot made our fond love fonder,<br> +O'er which Thyrsis erst was moved to sigh.<br> +<br> +Step in the boat, then--both of us singing,<br> +Love his wand swinging<br> +Over our fate.<br> +Æol is moving,<br> +But though wild proving,<br> +In your arms loving<br> +Comfort doth wait.<br> +Blest, on angry waves of ocean riding,<br> +By thee clasped, vain 'twere this dear thought hiding:<br> +Death shall find me in thy pathway biding.<br> +Sirens, sing ye, and my voice imitate!</center> +<br> +<br> +<a name="BELLMAN_04"></a> +<center><b>ART AND POLITICS</b><br> +"Good servant Mollberg, what's happened to thee,<br> +Whom without coat and hatless I see?<br> +Bloody thy mouth--and thou'rt lacking a tooth!<br> +Where have you been, brother?--tell me the truth."<br> +"At Rostock, good sir,<br> +Did the trouble occur.<br> +Over me and my harp<br> +An argument sharp<br> +Arose, touching my playing--pling plingeli plang;<br> +And a bow-legged cobbler coming along<br> +Struck me in the mouth--pling plingeli plang.<br> +<br> +"I sat there and played--no carouse could one see--<br> +The Polish Queen's Polka--G-major the key:<br> +The best kind of people were gathered around,<br> +And each drank his schoppen 'down to the ground.'<br> +I don't know just how<br> +Began freshly the row,<br> +But some one from my head<br> +Knocked my hat, and thus said:<br> +'What is Poland to thee?'--Pling plingeli plang--<br> +'Play us no polka!' Another one sang:<br> +'Now silent be!'--Pling plingeli plang.<br> +<br> +"Hear, my Maecenas, what still came to pass.<br> +As I sat there in quiet, enjoying my glass,<br> +On Poland's condition the silence I broke:<br> +'Know ye, good people,' aloud thus I spoke,<br> +'That all monarchs I<br> +On this earth do defy<br> +My harp to prevent<br> +From giving song vent<br> +Throughout all this land--pling plingeli plang!<br> +Did only a single string to it hang,<br> +I'd play a polka--pling plingeli plang!'<br> +<br> +"There sat in the corner a sergeant old,<br> +Two notaries and a dragoon bold,<br> +Who cried 'Down with him! The cobbler is right!<br> +Poland earns the meeds of her evil might!'<br> +From behind the stove came<br> +An old squint-eyed dame,<br> +And flung at the harp<br> +Glass broken and sharp;<br> +But the cobbler--pling plingeli plang--<br> +Made a terrible hole in my neck--that long!<br> +There hast thou the story--pling plingeli plang.<br> +<br> +"O righteous world! Now I ask of thee<br> +If I suffered not wrongly?" "Why, certainly!"<br> +"Was I not innocent?" "Bless you, most sure!"<br> +"The harp rent asunder, my nose torn and sore,<br> +Twas hard treatment, I trow!<br> +Now no better I know<br> +Than to go through the land<br> +With my harp in my hand,<br> +Play for Bacchus and Venus--kling klang--<br> +With masters best that e'er played or sang;<br> +Attend me, Apollo!--pling plingeli plang."</center> +<br> +<br> +<a name="BELLMAN_05"></a> +<center><b>DRINK OUT THY GLASS</b><br> +<br> +Drink out thy glass! See, on thy threshold, nightly,<br> +Staying his sword, stands Death, awaiting thee.<br> +Be not alarmed; the grave-door, opened slightly,<br> +Closes again; a full year it may be<br> +Ere thou art dragged, poor sufferer, to the grave.<br> +Pick the octave!<br> +Tune up the strings! Sing of life with glee!<br> +<br> +Golden's the hue thy dull, wan cheeks are showing;<br> +Shrunken's thy chest, and flat each shoulder-blade.<br> +Give me thy hand! Each dark vein, larger growing,<br> +Is, to my touch, as if in water laid.<br> +Damp are these hands; stiff are these veins becoming.<br> +Pick now, and strumming,<br> +Empty thy bottle! Sing! drink unafraid.<br> +<br> +<hr style="width: 35%;"> +<br> +Skål, then, my boy! Old Bacchus sends last greeting;<br> +Freya's farewell receive thou, o'er thy bowl.<br> +Fast in her praise thy thin blood flows, repeating<br> +Its old-time force, as it was wont to roll.<br> +Sing, read, forget; nay, think and weep while thinking.<br> +Art thou for drinking<br> +Another bottle? Thou art dead? No Skål!</center> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BENTHAM"></a> +<h2>JEREMY BENTHAM</h2> +<h3>(1748-1832)</h3> +<br> +<p class="par"><img src="images/letter-b.png" width="30%" alt= +""></p> +<p>entham, whose name rightly stands sponsor for the utilitarian +theory of morals in legislation, though not its originator, was a +mighty and unique figure in many ways. His childhood reminds us of +that of his disciple John Stuart Mill in its precocity; but +fortunately for him, life had more juice in it for young Bentham +than it had for Mill. In his maturity and old age he was widely +recognized as a commanding authority, notwithstanding some +startling absurdities.</p> +<p class="rgt"><img src="images/image-347.png" width="45%" alt= +""><br> +<b>Jeremy Bentham.</b></p> +<p>He was born in London, February 15th, 1747-8; the child of an +attorney of ample means, who was proud of the youth, and did not +hesitate to show him off. In his fourth year he began the study of +Latin, and a year later was known in his father's circle as "the +philosopher." At six or seven he began the study of French. He was +then sent to Westminster school, where he must have had a rather +uncomfortable time; for he was small in body, sensitive and +delicate, and not fond of boyish sports. He had a much happier life +at the houses of his grandmothers at Barking and at Browning Hill, +where much of his childhood was spent. His reminiscences of these +days, as related to his biographer, are full of charm. He was a +great reader and a great student; and going to Oxford early, was +only sixteen when he took his degree.</p> +<p>It must be confessed that he did not bear away with him a high +appreciation of the benefits which he owed to his alma mater. +"Mendacity and insincerity--- in these I found the effects, the +sure and only sure effects, of an English university education." He +wrote a Latin ode on the death of George II., which was much +praised. In later years he himself said of it, "It was a mediocre +performance on a trumpery subject, written by a miserable +child."</p> +<p>On taking his degree he entered at Lincoln's Inn, but he never +made a success in the practice of the law. He hated litigation, and +his mind became immediately absorbed in the study and development +of the principles of legislation and jurisprudence, and this became +the business of his life. He had an intense antipathy to +Blackstone, under whom he had sat at Oxford; and in 1776 he +published anonymously a severe criticism of his work, under the +title 'Fragments on Government, or a Commentary on the +Commentaries,' which was at first attributed to Lord Mansfield, +Lord Camden, and others. His identification as the author of the +'Fragments' brought him into relations with Lord Shelburne, who +invited him to Bowood, where he made a long and happy visit, of +which bright and gossipy letters tell the story. Here he worked on +his 'Introduction to the Principles of Morals and Legislation,' in +which he developed his utilitarian theory, and here he fell in love +with a young lady who failed to respond to his wishes. Writing in +1827, he says:--</p> +<blockquote>"I am alive, more than two months advanced in my +eightieth year, more lively than when you presented me in ceremony +with a flower in Green Lane. Since that day not a single one has +passed, not to speak of nights, in which you have not engrossed +more of my thoughts than I could have wished.... Embrace----; +though it is for me, as it is by you, she will not be severe, nor +refuse her lips to me as she did her hand, at a time perhaps not +yet forgotten by her, any more than by me."</blockquote> +<p>Bentham wrote voluminously on morals, on rewards and +punishments, on the poor laws, on education, on law reform, on the +codification of laws, on special legislative measures, on a vast +variety of subjects. His style, at first simple and direct, became +turgid, involved, and obscure. He was in the habit of beginning the +same work independently many times, and usually drove several +horses abreast. He was very severe in his strictures upon persons +in authority, and upon current notions; and was constantly being +warned that if he should publish such or such a work he would +surely be prosecuted. Numerous books were therefore not published +until many years after they were written. His literary style became +so prolix and unintelligible that his disciples--Dumont, Mill, and +others--came to his rescue, and disentangled and prepared for the +press his innumerable pamphlets, full of suggestiveness and teeming +with projects of reform more or less completely realized since. His +publications include more than seventy titles, and he left a vast +accumulation of manuscript, much of which has never been read.</p> +<p>He had a wide circle of acquaintances, by whom he was held in +high honor, and his correspondence with the leading men of his time +was constant and important. In his later years he was a pugnacious +writer, but he was on intimate and jovial terms with his friends. +In 1814 he removed to Ford Abbey, near Chard, and there wrote +'Chrestomathea,' a collection of papers on the principles of +education, in which he laid stress upon the value of instruction in +science, as against the excessive predominance of Greek and Latin. +In 1823, in conjunction with James Mill and others, he established +the Westminster Review, but he did not himself contribute largely +to it. He continued, however, to the end of his life to write on +his favorite topics.</p> +<p>Robert Dale Owen, in his autobiography, gives the following +description of a visit to Bentham during the philosopher's later +years:--</p> +<blockquote>"I preserve a most agreeable recollection of that grand +old face, beaming with benignity and intelligence, and occasionally +with a touch of humor which I did not expect.... I do not remember +to have met any one of his age [seventy-eight] who seemed to have +more complete possession of his faculties, bodily and mental; and +this surprised me the more because I knew that in his childhood he +had been a feeble-limbed, frail boy.... I found him, having +overpassed by nearly a decade the allotted threescore years and +ten, with step as active and eye as bright and conversation as +vivacious as one expects in a hale man of fifty....<br> +<br> +"I shall never forget my surprise when we were ushered by the +venerable philosopher into his dining-room. An apartment of good +size, it was occupied by a platform about two feet high, and which +filled the whole room, except a passageway some three or four feet +wide, which had been left so that one could pass all round it. Upon +this platform stood the dinner-table and chairs, with room enough +for the servants to wait upon us. Around the head of the table was +a huge screen, to protect the old man, I suppose, against the +draught from the doors....<br> +<br> +"When another half-hour had passed, he touched the bell again. This +time his order to the servant startled me:--<br> +<br> +"'John, my night-cap!'<br> +<br> +"I rose to go, and one or two others did the same; Neal sat still. +'Ah!' said Bentham, as he drew a black silk night-cap over his +spare gray hair, 'you think that's a hint to go. Not a bit of it. +Sit down! I'll tell you when I am tired. I'm going to +<i>vibrate</i> a little; that assists digestion, too.'<br> +<br> +"And with that he descended into the trench-like passage, of which +I have spoken, and commenced walking briskly back and forth, his +head nearly on a level with ours, as we sat. Of course we all +turned toward him. For full half an hour, as he walked, did he +continue to pour forth such a witty and eloquent invective against +kings, priests, and their retainers, as I have seldom listened to. +Then he returned to the head of the table and kept up the +conversation, without flagging, till midnight ere he dismissed +us.<br> +<br> +"His parting words to me were characteristic:--'God bless you,--if +there be such a being; and at all events, my young friend, take +care of yourself.'"</blockquote> +<p>His weak childhood had been followed by a healthy and robust old +age. But he wore out at last, and died June 6, 1832, +characteristically leaving his body to be dissected for the benefit +of science. The greater part of his published writings were +collected by Sir John Browning, his executor, and issued in nine +large volumes in 1843.</p> +<br> +<a name="BENTHAM_01"></a> +<center><b>OF THE PRINCIPLE OF UTILITY</b></center> +<br> +<center>From 'An Introduction to the Principles of Morals and +Legislation'</center> +<br> +<p>Nature has placed mankind under the governance of two sovereign +masters, <i>pain</i> and <i>pleasure</i>. It is for them alone to +point out what we ought to do, as well as to determine what we +shall do. On the one hand the standard of right and wrong, on the +other the chain of causes and effects, are fastened to their +throne. They govern us in all we do, in all we say, in all we +think; every effort we can make to throw off our subjection will +serve but to demonstrate and confirm it. In words a man may pretend +to abjure their empire; but in reality he will remain subject to it +all the while. The <i>principle of utility</i> recognizes this +subjection, and assumes it for the foundation of that system, the +object of which is to rear the fabric of felicity by the hands of +reason and of law. Systems which attempt to question it deal in +sounds instead of sense, in caprice instead of reason, in darkness +instead of light.</p> +<p>But enough of metaphor and declamation: it is not by such means +that moral science is to be improved.</p> +<p>The principle of utility is the foundation of the present work; +it will be proper, therefore, at the outset to give an explicit and +determinate account of what is meant by it. By the principle of +utility is meant that principle which approves or disapproves of +every action whatsoever, according to the tendency which it appears +to have to augment or diminish the happiness of the party whose +interest is in question; or, what is the same thing in other words, +to promote or to oppose that happiness. I say of every action +whatsoever; and therefore not only of every action of a private +individual, but of every measure of government.</p> +<p>By utility is meant that property in any object whereby it tends +to produce benefit, advantage, pleasure, good, or happiness (all +this in the present case comes to the same thing), or (what comes +again to the same thing) to prevent the happening of mischief, +pain, evil, or unhappiness to the party whose interest is +considered: if that party be the community in general, then the +happiness of the community; if a particular individual, then the +happiness of that individual.</p> +<p>The interest of the community is one of the most general +expressions that can occur in the phraseology of morals: no wonder +that the meaning of it is often lost. When it has a meaning, it is +this: The community is a fictitious <i>body</i>, composed of the +individual persons who are considered as constituting, as it were, +its <i>members</i>. The interest of the community, then, is what? +The sum of the interests of the several members who compose it.</p> +<p>It is vain to talk of the interest of the community, without +understanding what is the interest of the individual. A thing is +said to promote the interest, or to be <i>for</i> the interest, of +an individual, when it tends to add to the sum total of his +pleasures: or, what comes to the same thing, to diminish the sum +total of his pains.</p> +<p>An action, then, may be said to be conformable to the principle +of utility, or for shortness' sake to utility (meaning with respect +to the community at large), when the tendency it has to augment the +happiness of the community is greater than any it has to diminish +it.</p> +<p>A measure of government (which is but a particular kind of +action, performed by a particular person or persons) may be said to +be conformable to or dictated by the principle of utility, when in +like manner the tendency which it has to augment the happiness of +the community is greater than any which it has to diminish it.</p> +<p>When an action, or in particular a measure of government, is +supposed by a man to be conformable to the principle of utility, it +may be convenient for the purposes of discourse to imagine a kind +of law or dictate called a law or dictate of utility, and to speak +of the action in question as being conformable to such law or +dictate.</p> +<p>A man may be said to be a partisan of the principle of utility, +when the approbation or disapprobation he annexes to any action, or +to any measure, is determined by and proportioned to the tendency +which he conceives it to have to augment or to diminish the +happiness of the community; or in other words, to its conformity or +unconformity to the laws or dictates of utility.</p> +<p>Of an action that is conformable to the principle of utility, +one may always say either that it is one that ought to be done, or +at least that it is not one that ought not to be done. One may say +also that it is right it should be done, at least that it is not +wrong it should be done; that it is a right action, at least that +it is not a wrong action. When thus interpreted, the words +<i>ought</i>, and <i>right</i> and <i>wrong</i>, and others of that +stamp, have a meaning; when otherwise, they have none.</p> +<br> +<a name="BENTHAM_02"></a> +<center><b>REMINISCENCES OF CHILDHOOD</b></center> +<br> +<p>During my visits to Barking, I used to be my grandmother's +bedfellow. The dinner hour being as early as two o'clock, she had a +regular supper, which was served up in her own sleeping-room; and +immediately after finishing it, she went to bed. Of her supper I +was not permitted to partake, nor was the privation a matter of +much regret. I had what I preferred--a portion of gooseberry pie; +hers was a scrag of mutton, boiled with parsley and butter. I do +not remember any variety.</p> +<p>My amusements consisted in building houses with old cards, and +sometimes playing at 'Beat the knave out of doors' with my +grandmother. My time of going to bed was perhaps an hour before +hers; but by way of preparation, I never failed to receive her +blessing. Previous to the ceremony, I underwent a catechetical +examination, of which one of the questions was, "Who were the +children that were saved in the fiery furnace?" Answer, "Shadrach, +Meshach, and Abednego." But as the examination frequently got no +farther, the word Abednego got associated in my mind with very +agreeable ideas, and it ran through my ears like "Shadrach, +Meshach, and To-bed-we-go," in a sort of pleasant confusion, which +is not yet removed. As I grew in years, I became a fit receptacle +for some of my grandmother's communications, among which the state +of her family and the days of her youth were most prominent.</p> +<p>There hung on the wall, perpetually in view, a sampler, the +produce of the industry and ingenuity of her mother or her +grandmother, of which the subject-matter was the most important of +all theologico-human incidents, the fall of man in Paradise. There +was Adam--there was Eve--and there was the serpent. In these there +was much to interest and amuse me. One thing alone puzzled me; it +was the forbidden fruit. The size was enormous. It was larger than +that species of the genus <i>Orangeum</i> which goes by the name of +"the forbidden fruit" in some of our West India settlements. Its +size was not less than that of the outer shell of a cocoanut. All +the rest of the objects were as usual in <i>plano</i>; this was in +<i>alto</i>, indeed in <i>altissimo rilievo.</i> What to make of +it, at a time when my mind was unable to distinguish fictions from +realities, I knew not. The recollection is strong in me of the +mystery it seemed to be. My grandmother promised me the sampler +after her death as a legacy, and the promise was no small +gratification; but the promise, with many other promises of jewels +and gold coins, was productive of nothing but disappointment. Her +death took place when I was at Oxford. My father went down; and +without consulting me, or giving the slightest intimation of his +intention, let the house, and sold to the tenant almost everything +that was in it. It was doing as he was wont to do, notwithstanding +his undoubted affection for me. In the same way he sold the estate +he had given to me as a provision on the occasion of his second +marriage. In the mass went some music-books which I had borrowed of +Mrs. Browne. Not long after, she desired them to be returned. I +stood before her like a defenseless culprit, conscious of my +inability to make restitution; and at the same time, such was my +state of mental weakness that I knew not what to say for apology or +defense.</p> +<p>My grandmother's mother was a matron, I was told, of high +respectability and corresponding piety; well-informed and +strong-minded. She was distinguished, however; for while other +matrons of her age and quality had seen many a ghost, she had seen +but <i>one</i>. She was in this particular on a level with the +learned lecturer, afterwards judge, the commentator Blackstone. But +she was heretical, and her belief bordered on Unitarianism. And by +the way, this subject of ghosts has been among the torments of my +life. Even now, when sixty or seventy years have passed over my +head since my boyhood received the impression which my grandmother +gave it, though my judgment is wholly free, my imagination is not +wholly so. My infirmity was not unknown to the servants. It was a +permanent source of amusement to ply me with horrible phantoms in +all imaginable shapes. Under the pagan dispensation, every object a +man could set his eyes on had been the seat of some pleasant +adventure. At Barking, in the almost solitude of which so large a +portion of my life was passed, every spot that could be made by any +means to answer the purpose was the abode of some spectre or group +of spectres. So dexterous was the invention of those who worked +upon my apprehensions, that they managed to transform a real into a +fictitious being. His name was <i>Palethorp</i>; and Palethorp, in +my vocabulary, was synonymous with hobgoblin. The origin of these +horrors was this:--</p> +<p>My father's house was a short half-mile distant from the +principal part of the town, from that part where was situated the +mansion of the lord of the manor, Sir Crisp Gascoigne. One morning +the coachman and the footman took a conjunct walk to a public-house +kept by a man of the name Palethorp; they took me with them: it was +before I was breeched. They called for a pot of beer; took each of +them a sip, and handed the pot to me. On their requisition, I took +another; and when about to depart, the amount was called for. The +two servants paid their quota, and I was called on for mine. +<i>Nemo dat quod non habet</i>--this maxim, to my no small +vexation, I was compelled to exemplify. Mr. Palethorp, the +landlord, had a visage harsh and ill-favored, and he insisted on my +discharging my debt. At this very early age, without having put in +for my share of the gifts of fortune, I found myself in the state +of an insolvent debtor. The demand harassed me so mercilessly that +I could hold out no longer: the door being open, I took to my +heels; and as the way was too plain to be missed, I ran home as +fast as they could carry me. The scene of the terrors of Mr. +Palethorp's name and visitation, in pursuit of me, was the +country-house at Barking; but neither was the town-house free from +them; for in those terrors, the servants possessed an instrument by +which it was in their power at any time to get rid of my presence. +Level with the kitchen--level with the landing-place in which the +staircase took its commencement--were the usual offices. When my +company became troublesome, a sure and continually repeated means +of exonerating themselves from it was for the footman to repair to +the adjoining subterraneous apartments, invest his shoulders with +some strong covering, and concealing his countenance, stalk in with +a hollow, menacing, and inarticulate tone. Lest that should not be +sufficient, the servants had, stuck by the fireplace, the +portraiture of a hobgoblin, to which they had given the name of +Palethorp. For some years I was in the condition of poor Dr. +Priestley, on whose bodily frame another name, too awful to be +mentioned, used to produce a sensation more than mental.</p> +<br> +<a name="BENTHAM_03"></a> +<center><b>LETTER FROM BOWOOD TO GEORGE WILSON (1781)</b></center> +<br> +<center>SUNDAY, 12 o'clock.</center> +<br> +<p>Where shall I begin?--Let me see--The first place, by common +right, to the ladies. The ideas I brought with me respecting the +female part of this family are turned quite topsy-turvy, and +unfortunately they are not yet cleared up. I had expected to find +in Lady Shelburne a Lady Louisa Fitzpatrick, sister of an Earl of +Ossory, whom I remember at school; instead of her, I find a lady +who has for her sister a Miss Caroline V-----: is not this the maid +of honor, the sister to Lady G-----? the lady who was fond of Lord +C------, and of whom he was fond? and whom he quitted for an +heiress and a pair of horns? Be they who they may, the one is +loveliest of matrons, the other of virgins: they have both of them +more than I could wish of reserve, but it is a reserve of modesty +rather than of pride.</p> +<p>The quadrupeds, whom you know I love next, consist of a child of +a year old, a tiger, a spaniel formerly attached to Lady +Shelburne--at present to my Lord--besides four plebeian cats who +are taken no notice of, horses, etc., and a wild boar who is sent +off on a matrimonial expedition to the farm. The four first I have +commenced a friendship with, especially the first of all, to whom I +am body-coachman extraordinary <i>en titre d'office</i>: Henry, +(for that is his name) [the present Lord Lansdowne] for such an +animal, has the most thinking countenance I ever saw; being very +clean, I can keep him without disgust and even with pleasure, +especially after having been rewarded, as I have just now, for my +attention to him, by a pair of the sweetest smiles imaginable from +his mamma and aunt. As Providence hath ordered it, they both play +on the harpsichord and at chess. I am flattered with the hopes of +engaging with them, before long, either in war or harmony: not +to-day--because, whether you know it or not, it is Sunday; I know +it, having been paying my devotions--our church, the hall--our +minister, a sleek young parson, the curate of the parish--our +saints, a naked Mercury, an Apollo in the same dress, and a Venus +de' Medicis--our congregation, the two ladies, Captain Blankett, +and your humble servant, upon the carpet by the minister--below, +the domestics, <i>superioris et inferioris ordinis</i>. Among the +former I was concerned to see poor Mathews, the librarian, who, I +could not help thinking, had as good a title to be upon the carpet +as myself.</p> +<p>Of Lord Fitzmaurice I know nothing, but from his bust and +letters: the first bespeaks him a handsome youth, the latter an +ingenious one. He is not sixteen, and already he writes better than +his father. He is under the care of a Mr. Jervis, a dissenting +minister, who has had charge of him since he was six years old. He +has never been at any public school of education. He has now for a +considerable time been traveling about the kingdom, that he may +know something of his own country before he goes to others, and be +out of the way of adulation.</p> +<p>I am interrupted--adieu! <i>le reste à l'ordinaire +prochain</i>.</p> +<br> +<a name="BENTHAM_04"></a> +<center><b>FRAGMENT OF A LETTER TO LORD LANSDOWNE +(1790)</b></center> +<br> +<p>It was using me very ill, that it was, to get upon stilts as you +did, and resolve not to be angry with me, after all the pains I had +taken to make you so. You have been angry, let me tell you, with +people as little worth it before now; and your being so niggardly +of it in my instance, may be added to the account of your +injustice. I see you go upon the old Christian principle of heaping +coals of fire upon people's heads, which is the highest refinement +upon vengeance. I see, moreover, that according to your system of +cosmogony, the difference is but accidental between the race of +kings and that of the first Baron of Lixmore: that ex-lawyers come +like other men from Adam, and ex-ministers from somebody who +started up out of the ground before him, in some more elevated part +of the country.</p> +<p>To lower these pretensions, it would be serving you right, if I +were to tell you that I was not half so angry as I appeared to be; +that, therefore, according to the countryman's rule, you have not +so much the advantage over me as you may think you have: that the +real object of what anger I really felt was rather the situation in +which I found myself than you or anybody; but that, as none but a +madman would go to quarrel with a nonentity called a situation, it +was necessary for me to look out for somebody who, somehow or +other, was connected with it.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BERANGER"></a> +<h2>JEAN-PIERRE DE BÉRANGER</h2> +<h3>(1780-1857)</h3> +<center>BY ALCÉE FORTIER</center> +<br> +<p class="par"><img src="images/letter-b.png" width="30%" alt= +""></p> +<p>éranger, like Hugo, has commemorated the date of his +birth, but their verses are very different. Hugo's poem is lofty in +style, beginning--</p> +<blockquote>"Ce siècle avait deux ans! Rome +remplaçait Sparte,<br> +Déjà Napoléon perçait sous +Bonaparte,<br> +Et du premier consul déjà, par maint endroit,<br> +Le front de l'empereur brisait le masque étroit."<br> +<br> +(This century was two years old; Rome displaced Sparta,<br> +Napoleon already was visible in Bonaparte,<br> +And the narrow mask of the First Consul, in many places,<br> +Was already pierced by the forehead of the Emperor.)</blockquote> +<p>Béranger's verses have less force, but are charming in +their simplicity:--</p> +<blockquote> "Dans ce Paris plein d'or et de +misère,<br> + En l'an du Christ mil sept cent +quatre-vingt,<br> + Chez un tailleur, mon pauvre et vieux +grand-père,<br> + Moi, nouveau-né, sachais ce qui +m'advint."<br> +<br> +(In this Paris full of gold and misery,<br> +In the year of Christ one thousand seven hundred and eighty,<br> +At the house of a tailor, my grandfather poor and old,<br> +I, a new-born child, knew what happened to me.)</blockquote> +<p>Authors of the eighteenth and the nineteenth centuries are more +subjective in their writings than those of the seventeenth, whose +characters can rarely be known from their works. A glance at the +life and surroundings of Béranger will show their influence +on his genius.</p> +<p>Béranger's mother was abandoned by her husband shortly +after her marriage, and her child was born at the house of her +father, the old tailor referred to in the song 'The Tailor and the +Fairy.' She troubled herself little about the boy, and he was +forsaken in his childhood. Béranger tells us that he does +not know how he learned to read. In the beginning of the year 1789 +he was sent to a school in the Faubourg Saint-Antoine, and there, +mounted on the roof of a house, he saw the capture of the Bastille +on the 14th of July. This event made a great impression on him, and +may have laid the foundations of his republican principles. When he +was nine and a half his father sent him to one of his sisters, an +innkeeper at Péronne, that town in the north of France +famous for the interview in 1468 between Louis XI. and Charles the +Bold, when the fox put himself in the power of the lion, as related +so vividly in 'Quentin Durward.'</p> +<p>Béranger's aunt was very kind to him. At Péronne +he went to a free primary school founded by Ballue de Bellenglise, +where the students governed themselves, electing their mayor, their +judges, and their justices of the peace. Béranger was +president of a republican club of boys, and was called upon several +times to address members of the Convention who passed through +Péronne. His aunt was an ardent republican, and he was +deeply moved by the invasion of France in 1792. He heard with +delight of the capture of Toulon in 1793 and of Bonaparte's +exploits, conceiving a great admiration for the extraordinary man +who was just beginning his military career. At the age of fifteen +Béranger returned to Paris, where his father had established +a kind of banking house. The boy had previously followed different +trades, and had been for two years with a publishing house as a +printer's apprentice. There he learned spelling and the rules of +French prosody. He began to write verse when he was twelve or +thirteen, but he had a strange idea of prosody. In order to get +lines of the same length he wrote his words between two parallel +lines traced from the top to the bottom of the page. His system of +versification seemed to be correct when applied to the Alexandrine +verse of Racine; but when he saw the fables of La Fontaine, in +which the lines are very irregular, he began to distrust his +prosody.</p> +<br> +<a name="illus-1784.jpg"></a> +<p class="ctr"><a href="images/illus-1784.jpg"><img src= +"images/illus-1784.jpg" width="45%" alt=""></a></p> +<br> +<p>Béranger became a skillful financier, and was very useful +to his father in his business. When the banker failed the young man +was thrown into great distress. He now had ample opportunity to +become familiar with the garret, of which he has sung so well. In +1804 he applied for help to Lucien Bonaparte, and received from +Napoleon's brother his own fee as member of the Institute. He +obtained shortly afterwards a position in a bureau of the +University. Having a weak constitution and defective sight, he +avoided the conscription. He was however all his life a true +patriot, with republican instincts; and he says that he never liked +Voltaire, because that celebrated writer unjustly preferred +foreigners and vilified Joan of Arc, "the true patriotic divinity, +who from my childhood was the object of my worship." He had +approved of the eighteenth of Brumaire: for "my soul," says he, +"has always vibrated with that of the people as when I was nineteen +years old;" and the great majority of the French people in 1799 +wished to see Bonaparte assume power and govern with a firm hand. +In 1813 Béranger wrote 'The King of Yvetot,' a pleasing and +amusing satire on Napoleon's reign. What a contrast between the +despotic emperor and ruthless warrior, and the simple king whose +crown is a nightcap and whose chief delight is his bottle of wine! +The song circulated widely in manuscript form, and the author soon +became popular. He made the acquaintance of Désaugiers and +became a member of the Caveau. Concerning this joyous literary +society M. Anatole France says, in his 'Vie Littéraire,' +that the first Caveau was founded in 1729 by Gallet, Piron, +Crébillon <i>fils</i>, Collé, and Panard. They used +to meet at Laudelle the tavern-keeper's. The second Caveau was +inaugurated in 1759 by Marmontel, Suard, Lanoue, and Brissy, and +lasted until the Revolution. In 1806 Armand Gouffé and +Capelle established the modern Caveau, of which Désaugiers +was president. The members met at Balaine's restaurant. In 1834 the +society was reorganized at Champlanc's restaurant. The members +wrote and published songs and sang them after dinner. "The Caveau," +says M. France, "is the French Academy of song," and as such has +some dignity. The same is true of the Lice, while the Chat Noir is +most <i>fin de siècle</i>.</p> +<p>To understand Béranger's songs and to excuse them +somewhat, we must remember that the French always delighted in +witty songs and tales, and pardoned the immorality of the works on +account of the wit and humor. This is what is called <i>l'esprit +gaulois</i>, and is seen principally in old French poetry, in the +fabliaux, the farces, and 'Le Roman de Renart.' Molière had +much of this, as also had La Fontaine and Voltaire, and +Béranger's wildest songs appear mild and innocent when +compared with those of the Chat Noir. In his joyous songs he +continues the traditions of the farces and fabliaux of the Middle +Ages, and in his political songs he uses wit and satire just as in +the <i>sottises</i> of the time of Louis XII.</p> +<p>Béranger's first volume of songs appeared at the +beginning of the second Restoration; and although it was hostile to +the Bourbons, the author was not prosecuted. In 1821, when his +second volume was published, he resigned his position as clerk at +the University, and was brought to trial for having written immoral +and seditious songs. He was condemned, after exciting scenes in +court, to three months' imprisonment and a fine of five hundred +francs, and in 1828 to nine months' imprisonment and a fine of ten +thousand francs, which was paid by public subscription.</p> +<p>No doubt he contributed to the Revolution of July, 1830; but +although he was a republican, he favored the monarchy of Louis +Philippe, saying that "it was a plank to cross over the gutter, a +preparation for the republic." The king wished to see him and thank +him, but Béranger replied that "he was too old to make new +acquaintances." He was invited to apply for a seat in the French +Academy, and refused that honor as he had refused political honors +and positions. He said that he "wished to be nothing"; and when in +1848 he was elected to the Constitutional Assembly, he resigned his +seat almost immediately. He has been accused of affectation, and of +exaggeration in his disinterestedness; but he was naturally timid +in public, and preferred to exert an influence over his countrymen +by his songs rather than by his voice in public assemblies.</p> +<p>Béranger was kind and generous, and ever ready to help +all who applied to him. He had a pension given to Rouget de l'Isle, +the famous author of the 'Marseillaise,' who was reduced to +poverty, and in 1835 he took into his house his good aunt from +Péronne, and gave hospitality also to his friend Mlle. +Judith Frère. In 1834 he sold all his works to his +publisher, Perrotin, for an annuity of eight hundred francs, which +was increased to four thousand by the publisher. On this small +income Béranger lived content till his death on July 16th, +1857. The government of Napoleon III. took charge of his funeral, +which was solemnized with great pomp. Although Béranger was +essentially the poet of the middle classes, and was extremely +popular, care was taken to exclude the people from the funeral +procession. While he never denied that he was the grandson of a +tailor, he signed <i>de</i> Béranger, to be distinguished +from other writers of the same name. The <i>de</i>, however, had +always been claimed by his father, who had left him nothing but +that pretense of nobility.</p> +<p>For forty years, from 1815 to his death, Béranger was +perhaps the most popular French writer of his time, and he was +ranked amongst the greatest French poets. There has been a reaction +against that enthusiasm, and he is now severely judged by the +critics. They say that he lacked inspiration, and was vulgar, +bombastic, and grandiloquent. Little attention is paid to him, +therefore, in general histories of French literature. But if he is +not entitled to stand on the high pedestal given to him by his +contemporaries, we yet cannot deny genius to the man who for more +than a generation swayed the hearts of the people at his will, and +exerted on his countrymen and on his epoch an immense +influence.</p> +<p>Many of his songs are coarse and even immoral; but his muse was +often inspired by patriotic subjects, and in his poems on Napoleon +he sings of the exploits of the great general defending French soil +from foreign invasion, or he delights in the victories of the +Emperor as reflecting glory upon France. Victor Hugo shared this +feeling when he wrote his inspiring verses in praise of the +conqueror. Both poets, Béranger and Hugo, contributed to +create the Napoleonic legend which facilitated the election of +Louis Napoleon to the presidency in 1848, and brought about the +Second Empire. What is more touching than 'The Reminiscences of the +People'? Are we not inclined to cry out, like the little children +listening to the old grandmother who speaks of Napoleon: "He spoke +to you, grandmother! He sat down there, grandmother! You have yet +his glass, grandmother!" The whole song is poetic, natural, and +simple. François Coppée, the great poet, said of it: +"Ah! if I had only written 'The Reminiscences of the People,' I +should not feel concerned about the judgment of posterity."</p> +<p>Other works of Béranger's are on serious subjects, as +'Mary Stuart's Farewell to France,' 'The Holy Alliance,' 'The +Swallows,' and 'The Old Banner,' All his songs have a charm. His +wit is not of the highest order, and he lacks the <i>finesse</i> of +La Fontaine, but he is often quaint and always amusing in his songs +devoted to love and Lisette, to youth and to wine. He is not one of +the greatest French lyric poets, and cannot be compared with +Lamartine, Hugo, Musset, and Vigny; nevertheless he has much +originality, and is without doubt the greatest song-writer that +France has produced. He elevated the song and made it both a poem +and a drama, full of action and interest.</p> +<p>Béranger wrote slowly and with great care, and many of +his songs cost him much labor. He was filled with compassion for +the weak, for the poor and unfortunate; he loved humanity, and +above all he dearly loved France. Posterity will do him justice and +will preserve at least a great part of his work. M. Ernest +Legouvé in his interesting work, 'La Lecture en Action,' +relates that one day, while walking with Béranger in the +Bois de Boulogne, the latter stopped in the middle of an alley, and +taking hold of M. Legouvé's hand, said with emotion, "My +dear friend, my ambition would be that one hundred of my lines +should remain." M. Legouvé adds, "There will remain more +than that," and his words have been confirmed. If we read aloud, if +we sing them, we too shall share the enthusiasm of our fathers, who +were carried away by the pathos, the grandeur, the wit, the +inexpressible charm of the unrivaled <i>chansonnier</i>.</p> +<p class="sign"><img src="images/sign-363.png" width="60%" alt= +""></p> +<br> +<br> +<br> +<br> +<br> +<a name="BERANGER_01"></a> +<center><b>FROM 'THE GIPSIES'</b><br> +<br> +(LES BOHÉMIENS)<br> +<br> +To see is to have. Come, hurry anew!<br> +Life on the wing<br> +Is a rapturous thing.<br> +To see is to have. Come, hurry anew!<br> +For to see the world is to conquer it too.<br> +<br> +<hr style="width: 25%;"> +<br> +<br> +So naught do we own, from pride left free,<br> +From statutes vain,<br> +From heavy chain;<br> +So naught do we own, from pride left free,--<br> +Cradle nor house nor coffin have we.<br> +<br> +But credit our jollity none the less,<br> +Noble or priest, or<br> +Servant or master;<br> +But credit our jollity none the less.--<br> +Liberty always means happiness.</center> +<br> +<br> +<a name="BERANGER_02"></a> +<blockquote><b>THE GAD-FLY</b><br> +<br> +(LA MOUCHE)<br> +<br> +In the midst of our laughter and singing,<br> + 'Mid the clink of our glasses so gay,<br> +What gad-fly is over us winging,<br> + That returns when we drive him away?<br> +'Tis some god. Yes, I have a suspicion<br> + Of our happiness jealous, he's come:<br> +Let us drive him away to perdition,<br> + That he bore us no more with his hum.<br> +<br> +Transformed to a gad-fly unseemly,<br> + I am certain that we must have here<br> +Old Reason, the grumbler, extremely<br> + Annoyed by our joy and our cheer.<br> +He tells us in tones of monition<br> + Of the clouds and the tempests to come:<br> +Let us drive him away to perdition,<br> + That he bore us no more with his hum.<br> +<br> +It is Reason who comes to me, quaffing,<br> + And says, "It is time to retire:<br> +At your age one stops drinking and laughing,<br> + Stops loving, nor sings with such fire;"--<br> +An alarm that sounds ever its mission<br> + When the sweetest of flames overcome:<br> +Let us drive him away to perdition,<br> + That he bore us no more with his hum.<br> +<br> +It is Reason! Look out there for Lizzie!<br> + His dart is a menace alway.<br> +He has touched her, she swoons--she is dizzy:<br> + Come, Cupid, and drive him away.<br> +Pursue him; compel his submission,<br> + Until under your strokes he succumb.<br> +Let us drive him away to perdition,<br> + That he bore us no more with his hum.<br> +<br> +Hurrah, Victory! See, he is drowning<br> + In the wine that Lizzetta has poured.<br> +Come, the head of Joy let us be crowning,<br> + That again he may reign at our board.<br> +He was threatened just now with dismission,<br> + And a fly made us all rather glum:<br> +But we've sent him away to perdition;<br> + He will bore us no more with his hum.<br> +<br> +Translation of Walter Learned.</blockquote> +<br> +<br> +<a name="BERANGER_03"></a> +<blockquote><b>DRAW IT MILD</b><br> +<br> +(LES PETITS COUPS)<br> +<br> +Let's learn to temper our desires,<br> + Not harshly to constrain;<br> +And since excess makes pleasure less,<br> + Why, so much more refrain.<br> +Small table--cozy corner--here<br> + We well may be beguiled;<br> +Our worthy host old wine can boast:<br> + Drink, drink--but draw it mild!<br> +<br> +He who would many an evil shun<br> + Will find my plan the best--<br> +To trim the sail as shifts the gale,<br> + And half-seas over rest.<br> +Enjoyment is an art--disgust<br> + Is bred of joy run wild;<br> +Too deep a drain upsets the brain:<br> + Drink, drink--but draw it mild!<br> +<br> +Our indigence--let's cheer it up;<br> + 'Tis nonsense to repine;<br> +To give to Hope the fullest scope<br> + Needs but one draught of wine.<br> +And oh! be temperate, to enjoy,<br> + Ye on whom Fate hath smiled;<br> +If deep the bowl, your thirst control:<br> + Drink, drink--but draw it mild!<br> +<br> +What, Phyllis, dost thou fear? at this<br> + My lesson dost thou scoff?<br> +Or would'st thou say, light draughts betray<br> + The toper falling off?<br> +Keen taste, eyes keen--whate'er be seen<br> + Of joy in thine, fair child,<br> +Love's philtre use, but don't abuse:<br> + Drink, drink--but draw it mild!<br> +<br> +Yes, without hurrying, let us roam<br> + From feast to feast of gladness;<br> +And reach old age, if not quite sage,<br> + With method in our madness!<br> +Our health is sound, good wines abound;<br> + Friends, these are riches piled.<br> +To use with thrift the twofold gift:<br> + Drink, drink--but draw it mild!<br> +<br> +Translation of William Young.</blockquote> +<br> +<br> +<a name="BERANGER_04"></a> +<blockquote><b>THE KING OF YVETOT</b><br> +<br> +There was a king of Yvetot,<br> + Of whom renown hath little +said,<br> + Who let all thoughts of glory go,<br> + And dawdled half his days a-bed;<br> +And every night, as night came round,<br> +By Jenny with a nightcap crowned,<br> + Slept very +sound:<br> + Sing ho, ho, ho! and he, he, +he!<br> + That's the kind of king for +me.<br> +<br> +And every day it came to pass,<br> + That four lusty meals made he;<br> +And step by step, upon an ass,<br> + Rode abroad, his realms to see;<br> +And wherever he did stir,<br> +What think you was his escort, sir?<br> + Why, an old +cur.<br> + Sing ho, ho, ho! and he, he, +he!<br> + That's the kind of king for +me.<br> +<br> +If e'er he went into excess,<br> + 'Twas from a somewhat lively thirst;<br> +But he who would his subjects bless,<br> + Odd's fish!--must wet his whistle first;<br> +And so from every cask they got,<br> +Our king did to himself allot<br> + At least a pot.<br> + Sing ho, ho, ho! and he, he, +he!<br> + That's the kind of king for +me.<br> +<br> +To all the ladies of the land<br> + A courteous king, and kind, was he--<br> +The reason why, you'll understand,<br> + They named him Pater Patriae.<br> +Each year he called his fighting men,<br> +And marched a league from home, and then<br> + Marched back +again.<br> + Sing ho, ho, ho! and he, he, +he!<br> + That's the kind of king for +me.<br> +<br> +Neither by force nor false pretense,<br> + He sought to make his kingdom great,<br> +And made (O princes, learn from hence)<br> + "Live and let live" his rule of state.<br> +'Twas only when he came to die,<br> +That his people who stood by<br> + Were known to +cry.<br> + Sing ho, ho, ho! and he, he, +he!<br> + That's the kind of king for +me.<br> +<br> +The portrait of this best of kings<br> + Is extant still, upon a sign<br> +That on a village tavern swings,<br> + Famed in the country for good wine.<br> +The people in their Sunday trim,<br> +Filling their glasses to the brim,<br> + Look up to him,<br> + Singing "ha, ha, ha!" and "he, +he, he!<br> + That's the sort of king for +me."<br> +<br> +Version of W.M. Thackeray.</blockquote> +<br> +<br> +<a name="BERANGER_05"></a> +<blockquote><b>FORTUNE</b><br> +<br> +Rap! rap!--Is that my lass--<br> + Rap! rap!--is rapping there?<br> + It is Fortune. Let her pass!<br> + I'll not open the door to her.<br> + Rap! rap!--<br> +<br> +All of my friends are making gay<br> + My little room, with lips wine-wet:<br> + We only wait for you, Lisette!<br> +Fortune! you may go your way.<br> + Rap! rap!--<br> +<br> +If we might credit half her boast,<br> + What wonders gold has in its gift!<br> + Well, we have twenty bottles left<br> +And still some credit with our host.<br> + Rap! rap!--<br> +<br> +Her pearls, and rubies too, she quotes,<br> + And mantles more than sumptuous:<br> + Lord! but the purple's naught to us,--<br> +We're just now taking off our coats.<br> + Rap! rap!--<br> +<br> +She treats us as the rawest youths,<br> + With talk of genius and of fame:<br> + Thank calumny, alas, for shame!<br> +Our faith is spoiled in laurel growths.<br> + Rap! rap!--<br> +<br> +Far from our pleasures, we care not<br> + Her highest heavens to attain;<br> + She fills her big balloons in vain<br> +Till we have swamped our little boat.<br> + Rap! rap!--<br> +<br> +Yet all our neighbors crowd to be<br> + Within her ring of promises,<br> + Ah! surely, friends! our mistresses<br> +Will cheat us more agreeably.<br> + Rap! rap!--</blockquote> +<br> +<br> +<a name="BERANGER_06"></a> +<blockquote><b>THE PEOPLE'S REMINISCENCES</b><br> +<br> +(LES SOUVENIRS DU PEUPLE)<br> +<br> +Ay, many a day the straw-thatched cot<br> + Shall echo with his glory!<br> +The humblest shed, these fifty years,<br> + Shall know no other story.<br> +There shall the idle villagers<br> + To some old dame resort,<br> +And beg her with those good old tales<br> + To make their evenings short.<br> +"What though they say he did us harm?<br> + Our love this cannot dim;<br> +Come, granny, talk of him to us;<br> + Come, granny, talk of him."<br> +<br> +"Well, children--with a train of kings,<br> + Once he passed by this spot;<br> +'Twas long ago; I had but just<br> + Begun to boil the pot.<br> +On foot he climbed the hill, whereon<br> + I watched him on his way:<br> +He wore a small three-cornered hat;<br> + His overcoat was gray.<br> +I was half frightened till he said<br> + 'Good day, my dear!' to me."<br> +"O granny, granny, did he speak?<br> + What, granny! you and he?"<br> +<br> +"Next year, as I, poor soul, by chance<br> + Through Paris strolled one day,<br> +I saw him taking, with his court,<br> + To Notre Dame his way.<br> +The crowd were charmed with such a show;<br> + Their hearts were filled with pride:<br> +'What splendid weather for the fête!<br> + Heaven favors him!' they cried.<br> +Softly he smiled, for God had given<br> + To his fond arms a boy."<br> +"Oh, how much joy you must have felt!<br> + O granny, how much joy!"<br> +<br> +"But when at length our poor Champagne<br> + By foes was overrun,<br> +He seemed alone to hold his ground;<br> + Nor dangers would he shun.<br> +One night--as might be now--I heard<br> + A knock--the door unbarred--<br> +And saw--good God! 'twas he, himself,<br> + With but a scanty guard.<br> +'Oh, what a war is this!' he cried,<br> + Taking this very chair."<br> +"What! granny, granny, there he sat?<br> + What! granny, he sat there?"<br> +<br> +"'I'm hungry,' said he: quick I served<br> + Thin wine and hard brown bread;<br> +He dried his clothes, and by the fire<br> + In sleep dropped down his head.<br> +Waking, he saw my tears--'Cheer up,<br> + Good dame!' says he, 'I go<br> +'Neath Paris' walls to strike for France<br> + One last avenging blow.'<br> +He went; but on the cup he used<br> + Such value did I set--<br> +It has been treasured."--"What! till now?<br> + You have it, granny, yet?"<br> +<br> +"Here 'tis: but 'twas the hero's fate<br> + To ruin to be led;<br> +He whom a Pope had crowned, alas!<br> + In a lone isle lies dead.<br> +'Twas long denied: 'No, no,' said they,<br> + 'Soon shall he reappear!<br> +O'er ocean comes he, and the foe<br> + Shall find his master here.'<br> +Ah, what a bitter pang I felt,<br> + When forced to own 'twas true!"<br> +"Poor granny! Heaven for this will look--<br> + Will kindly look on you."<br> +<br> +Translation of William Young.</blockquote> +<br> +<br> +<a name="BERANGER_07"></a> +<blockquote><b>THE OLD TRAMP</b><br> +<br> +(LE VIEUX VAGABOND)<br> +<br> + Here in this gutter let me die:<br> + Weary and sick and old, I've done.<br> + "He's drunk," will say the passers-by:<br> + All right, I want no pity--none.<br> + I see the heads that turn away,<br> + While others glance and toss me sous:<br> + "Off to your junket! go!" I say:<br> +Old tramp,--to die I need no help from you.<br> +<br> + Yes, of old age I'm dying now:<br> + Of hunger people never die.<br> + I hoped some almshouse might allow<br> + A shelter when my end was nigh;<br> + But all retreats are overflowed,<br> + Such crowds are suffering and forlorn.<br> + My nurse, alas! has been the road:<br> +Old tramp,--here let me die where I was born.<br> +<br> + When young, it used to be my prayer<br> + To craftsmen, "Let me learn your +trade."<br> + "Clear out--we've got no work to spare;<br> + Go beg," was all reply they made.<br> + You rich, who bade me work, I've fed<br> + With relish on the bones you threw;<br> + Made of your straw an easy bed:<br> +Old tramp,--I have no curse to vent on you.<br> +<br> + Poor wretch, I had the choice to steal;<br> + But no, I'd rather beg my bread.<br> + At most I thieved a wayside meal<br> + Of apples ripening overhead.<br> + Yet twenty times have I been thrown<br> + In prison--'twas the King's decree;<br> + Robbed of the only thing I own:<br> +Old tramp,--at least the sun belongs to me.<br> +<br> + The poor man--is a country his?<br> + What are to me your corn and wine,<br> + Your glory and your industries,<br> + Your orators? They are not mine.<br> + And when a foreign foe waxed fat<br> + Within your undefended walls,<br> + I shed my tears, poor fool, at that:<br> +Old tramp,--his hand was open to my calls.<br> +<br> + Why, like the hateful bug you kill,<br> + Did you not crush me when you could?<br> +<br> + Or better, teach me ways and skill<br> + To labor for the common good?<br> +<br> + The ugly grub an ant may end,<br> + If sheltered from the cold and fed.<br> +<br> + You might have had me for a friend:<br> +Old tramp,--I die your enemy instead.<br> +<br> +Translated for the 'World's Best Literature.'</blockquote> +<br> +<br> +<a name="BERANGER_08"></a> +<blockquote><b>FIFTY YEARS</b><br> +<br> +(ClNQUANTE ANS)<br> +<br> +Wherefore these flowers? floral applause?<br> + Ah, no, these blossoms came to say<br> +That I am growing old, because<br> + I number fifty years to-day.<br> +O rapid, ever-fleeting day!<br> + O moments lost, I know not how!<br> +O wrinkled cheek and hair grown gray!<br> + Alas, for I am fifty now!<br> +<br> +Sad age, when we pursue no more--<br> + Fruit dies upon the withering tree:<br> +Hark! some one rapped upon my door.<br> + Nay, open not. 'Tis not for me--<br> +Or else the doctor calls. Not yet<br> + Must I expect his studious bow.<br> +Once I'd have called, "Come in, Lizzette"--<br> + Alas, for I am fifty now!<br> +<br> +In age what aches and pains abound.<br> + The torturing gout racks us awhile;<br> +Blindness, a prison dark, profound;<br> + Or deafness that provokes a smile.<br> +Then Reason's lamp grows faint and dim<br> + With flickering ray. Children, allow<br> +Old Age the honor due to him--<br> + Alas, for I am fifty now!<br> +<br> +Ah, heaven! the voice of Death I know,<br> + Who rubs his hands in joyous mood;<br> +The sexton knocks and I must go--<br> + Farewell, my friends the human brood!<br> +Below are famine, plague, and strife;<br> + Above, new heavens my soul endow:<br> +Since God remains, begin, new life!<br> + Alas, for I am fifty now!<br> +<br> +But no, 'tis you, sweetheart, whose youth,<br> + Tempting my soul with dainty ways,<br> +Shall hide from it the sombre truth,<br> + This incubus of evil days.<br> +Springtime is yours, and flowers; come then,<br> + Scatter your roses on my brow,<br> +And let me dream of youth again--<br> + Alas, for I am fifty now!<br> +<br> +Translation of Walter Learned.</blockquote> +<br> +<br> +<a name="BERANGER_09"></a> +<blockquote><b>THE GARRET</b><br> +<br> +With pensive eyes the little room I view,<br> + Where in my youth I weathered it so long,<br> +With a wild mistress, a stanch friend or two,<br> + And a light heart still breaking into song;<br> +Making a mock of life, and all its cares,<br> + Rich in the glory of my rising sun:<br> +Lightly I vaulted up four pair of stairs,<br> + In the brave days when I was twenty-one.<br> +<br> +Yes; 'tis a garret--let him know't who will---<br> + There was my bed--full hard it was and small;<br> +My table there--and I decipher still<br> + Half a lame couplet charcoaled on the wall.<br> +Ye joys, that Time hath swept with him away,<br> + Come to mine eyes, ye dreams of love and fun:<br> +For you I pawned my watch how many a day,<br> + In the brave days when I was twenty-one!<br> +<br> +And see my little Jessy, first of all;<br> + She comes with pouting lips and sparkling eyes:<br> +Behold, how roguishly she pins her shawl<br> + Across the narrow casement, curtain-wise:<br> +Now by the bed her petticoat glides down,<br> + And when did women look the worse in none?<br> +I have heard since who paid for many a gown,<br> + In the brave days when I was twenty-one.<br> +<br> +One jolly evening, when my friends and I<br> + Made happy music with our songs and cheers,<br> +A shout of triumph mounted up thus high,<br> + And distant cannon opened on our ears;<br> +We rise,--we join in the triumphant strain,--<br> + Napoleon conquers--Austerlitz is won--<br> +Tyrants shall never tread us down again,<br> + In the brave days when I was twenty-one.<br> +<br> +Let us begone--the place is sad and strange--<br> + How far, far off, these happy times appear!<br> +All that I have to live I'd gladly change<br> + For one such month as I have wasted here--<br> +To draw long dreams of beauty, love, and power,<br> + From founts of hope that never will outrun,<br> +And drink all life's quintessence in an hour:<br> + Give me the days when I was twenty-one.<br> +<br> +Version of W.M. Thackeray.</blockquote> +<br> +<br> +<a name="BERANGER_10"></a> +<blockquote><b>MY TOMB</b><br> +<br> +(MON TOMBEAU)<br> +<br> +What! whilst I'm well, beforehand you design,<br> +At vast expense, for me to build a shrine?<br> +Friends, 'tis absurd! to no such outlay go;<br> +Leave to the great the pomp and pride of woe.<br> +Take what for marble or for brass would pay--<br> +For a dead beggar garb by far too gay--<br> +And buy life-stirring wine on my behalf:<br> +The money for my tomb right gayly let us quaff!<br> +<br> +A mausoleum worthy of my thanks<br> +At least would cost you twenty thousand francs:<br> +Come, for six months, rich vale and balmy sky,<br> +As gay recluses, be it ours to try.<br> +Concerts and balls, where Beauty's self invites,<br> +Shall furnish us our castle of delights;<br> +I'll run the risk of finding life too sweet:<br> +The money for my tomb right gayly let us eat!<br> +<br> +But old I grow, and Lizzy's youthful yet:<br> +Costly attire, then, she expects to get;<br> +For to long fast a show of wealth resigns--<br> +Bear witness Longchamps, where all Paris shines!<br> +You to my fair one something surely owe;<br> +A Cashmere shawl she's looking for, I know:<br> +'Twere well for life on such a faithful breast<br> +The money for my tomb right gayly to invest!<br> +<br> +No box of state, good friends, would I engage,<br> +For mine own use, where spectres tread the stage:<br> +What poor wan man with haggard eyes is this?<br> +Soon must he die--ah, let him taste of bliss!<br> +The veteran first should the raised curtain see--<br> +There in the pit to keep a place for me,<br> +(Tired of his wallet, long he cannot live)--<br> +The money for my tomb to him let's gayly give!<br> +<br> +What doth it boot me, that some learned eye<br> +May spell my name on gravestone, by and by?<br> +As to the flowers they promise for my bier,<br> +I'd rather, living, scent their perfume here.<br> +And thou, posterity!--that ne'er mayst be--<br> +Waste not thy torch in seeking signs of me!<br> +Like a wise man, I deemed that I was bound<br> +The money for my tomb to scatter gayly round!<br> +<br> +Translation of William Young.</blockquote> +<br> +<br> +<a name="BERANGER_11"></a> +<center><b>FROM HIS PREFACE TO HIS COLLECTED POEMS</b></center> +<br> +<p>I have treated it [the revolution of 1830] as a power which +might have whims one should be in a position to resist. All or +nearly all my friends have taken office. I have still one or two +who are hanging from the greased pole. I am pleased to believe that +they are caught by the coat-tails, in spite of their efforts to +come down. I might therefore have had a share in the distribution +of offices. Unluckily I have no love for sinecures, and all +compulsory labor has grown intolerable to me, except perhaps that +of a copying clerk. Slanderers have pretended that I acted from +virtue. Pshaw! I acted from laziness. That defect has served me in +place of merits; wherefore I recommend it to many of our honest +men. It exposes one, however, to curious reproaches. It is to that +placid indolence that severe critics have laid the distance I have +kept myself from those of my honorable friends who have attained +power. Giving too much honor to what they choose to call my fine +intellect, and forgetting too much how far it is from simple good +sense to the science of great affairs, these critics maintain that +my counsels might have enlightened more than one minister. If one +believes them, I, crouching behind our statesmen's velvet chairs, +would have conjured down the winds, dispelled the storms, and +enabled France to swim in an ocean of delights. We should all have +had liberty to sell, or rather to give away, but we are still +rather ignorant of the price. Ah! my two or three friends who take +a song-writer for a magician, have you never heard, then, that +power is a bell which prevents those who set it ringing from +hearing anything else? Doubtless ministers sometimes consult those +at hand: consultation is a means of talking about one's self which +is rarely neglected. But it will not be enough even to consult in +good faith those who will advise in the same way. One must still +act: that is the duty of the position. The purest intentions, the +most enlightened patriotism, do not always confer it. Who has not +seen high officials leave a counselor with brave intentions, and an +instant after return to him, from I know not what fascination, with +a perplexity that gave the lie to the wisest resolutions? "Oh!" +they say, "we will not be caught there again! what drudgery!" The +more shamefaced add, "I'd like to see you in my place!" When a +minister says that, be sure he has no longer a head. There is +indeed one of them, but only one, who, without having lost his +head, has often used this phrase with the utmost sincerity; he has +therefore never used it to a friend.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BERKELEY"></a> +<h2>GEORGE BERKELEY</h2> +<h3>(1685-1753)</h3> +<br> +<p class="par"><img src="images/letter-f.png" width="30%" alt= +""></p> +<p>ew readers in the United States are unfamiliar with the lines, +"Westward the course of empire takes its way." It is vaguely +remembered that a certain Bishop Berkeley was the author of a +treatise on tar-water. There is moreover a general impression that +this Bishop Berkeley contended for the unreality of all things +outside of his own mind, and now and then some recall Byron's +lines--</p> +<blockquote>"When Bishop Berkeley said 'there was no matter,'<br> +And proved it,--'twas no matter what he said."</blockquote> +<p class="rgt"><img src="images/image-377.png" width="45%" alt= +""><br> +<b>George Berkeley.</b></p> +<p>This is the substance of the popular knowledge of one of the +profoundest thinkers of the early part of the eighteenth +century,--the time of Shaftesbury and Locke, of Addison and Steele, +of Butler, Pope, and Swift,--one of the most fascinating men of his +day, and one of the best of any age. Beside, or rather above, +Byron's line should be placed Pope's tribute:--</p> +<blockquote>"To Berkeley, every virtue under Heaven."</blockquote> +<p>Berkeley was born in Ireland, probably at Dysart Castle in the +Valley of the Nore, near Kilkenny, March 12, 1685. The family +having but lately come into Ireland, Berkeley always accounted +himself an Englishman. At Kilkenny School he met the poet Prior, +who became his intimate friend, his business representative, and +his most regular correspondent for life. Swift preceded him at this +school and at Trinity College, Dublin, whither Berkeley went March +21, 1700, being then fifteen years of age. Here as at Kilkenny he +took rank much beyond his years, and was soon deep in philosophical +speculations.</p> +<p>In Professor Fraser's edition of the 'Life and Works of +Berkeley' appears a 'Common-Place Book,' kept during the Trinity +College terms, and full of most remarkable memoranda for a youth of +his years. In 1709, while still at Trinity, he published an 'Essay +toward a New Theory of Vision,' which foreshadowed imperfectly his +leading ideas. In the following year he published a 'Treatise +concerning the Principles of Human Knowledge.' Two or three years +later he went to London, where he was received with unusual favor +and quickly became intimate in the literary circles of the day. He +made friends everywhere, being attractive in all ways, young, +handsome, graceful, fascinating in discourse, enthusiastic, and +full of thought. Swift was especially impressed by him, and did +much to further his fortunes.</p> +<p>His philosophical conceptions he at this time popularized in +'Three Dialogues between Hylas and Philonous,' a work rated by some +critics as at the head of its class.</p> +<p>Before going to London, Berkeley had been made a Fellow of +Trinity, had been appointed to various college offices, and had +taken orders. He remained away from Dublin for about eight years, +on leave frequently extended, writing in London, and traveling, +teaching, and writing on the Continent. On his return from his +foreign travels in 1720 or 1721, he found society completely +demoralized by the collapse of the South Sea bubble. He was much +depressed by the conditions around him, and sought to awaken the +moral sense of the people by 'An Essay toward Preventing the Ruin +of Great Britain.' Returning to Dublin and resuming college duties, +he was shortly made Dean of Dromore, and then Dean of Derry. Hardly +had he received these dignified appointments when he began planning +to rid himself of them, being completely absorbed in a scheme for a +University in the Bermudas, which should educate scholars, +teachers, and ministers for the New World, to which his hope +turned. To this scheme he devoted himself for many years. A +singular occurrence, which released him from pecuniary cares, +enabled him to give his time as well as his heart to the work. Miss +Vanhomrigh, the 'Vanessa' of Swift, upon her mother's death, left +London, and went to live in Ireland, to be near her beloved Dean; +and there she was informed of Swift's marriage to 'Stella.' The +news killed her, but she revoked the will by which her fortune was +bequeathed to Swift, and left one-half of it, or about +£4,000, to Berkeley, whom she had met but once. He must have +"kept an atmosphere," as Bagehot says of Francis Horner.</p> +<p>Going to London on fire with his great scheme, prepared to +resign his deanery and cast in his lot with that of the proposed +University, Berkeley wasted years in the effort to secure a charter +and grant from the administration. His enthusiasm and his +fascinating manners effected much, and over and over again only the +simplest formalities seemed necessary to success. Only the will of +Sir Robert Walpole stood in the way, but Walpole's will sufficed. +At last, in September, 1728, tired of waiting at court, Berkeley, +who had just married, sailed with three or four friends, including +the artist Smibert, for Rhode Island, intending to await there the +completion of his grant, and then proceed to Bermuda. He bought a +farm near Newport, and built a house which he called Whitehall, in +which he lived for about three years, leaving a tradition of a +benignant but retired and scholastic life. Among the friends who +were here drawn to him was the Rev. Samuel Johnson of Stratford, +afterward the first President of King's (now Columbia) College, +with whom he corresponded during the remainder of his life, and +through whom he was able to aid greatly the cause of education in +America.</p> +<p>The Newport life was idyllic. Berkeley wrote home that the +winters were cooler than those of the South of Ireland, but not +worse than he had known in Italy. He brought over a good library, +and read and wrote. The principal work of this period, written in a +romantic cleft in the rocks, was 'Alciphron, or the Minute +Philosopher,' in seven dialogues, directed especially against +atheism.</p> +<p>At length, through Lord Percival, Berkeley learned that Walpole +would not allow the parliamentary grant of, £20,000 for the +Bermuda College, and returned to England at the close of 1732. His +Whitehall estate he conveyed to Yale College for the maintenance of +certain scholarships. From England he sent over nearly a thousand +volumes for the Yale library, the best collection of books ever +brought at one time to America, being helped in the undertaking by +some of the Bermuda subscribers. A little later he sent a +collection of books to Harvard College also, and presented a +valuable organ to Trinity Church in Newport.</p> +<p>Shortly after his return, Berkeley was appointed Bishop of +Cloyne, near Cork in Ireland, and here he remained for about +eighteen years. Although a recluse, he wrote much, and he kept up +his loving relations with old friends who still survived. He had +several children to educate, and he cultivated music and painting. +He attempted to establish manufactures, and to cultivate habits of +industry and refinement among the people. The winter of 1739 was +bitterly cold. This was followed by general want, famine, and +disease. Berkeley and his family lived simply and gave away what +they could save. Large numbers of the people died from an epidemic. +In America Berkeley's attention had been drawn to the medicinal +virtues of tar, and he experimented successfully with tar-water as +a remedy. Becoming more and more convinced of its value, he +exploited his supposed discovery with his usual ardor, writing +letters and essays, and at length 'A Chain of Philosophical +Reflections and Enquiries concerning the Virtues of Tar-water and +divers other subjects connected together and arising one from +another.' This was called 'Siris' in a second edition which was +soon demanded. Beginning with the use of tar-water as a remedy, the +treatise gradually developed into the treatment of the largest +themes, and offered the ripest fruits of the Bishop's +philosophy.</p> +<p>Berkeley's system was neither consistent nor complete, but much +of it remains sound. In brief, he contended that matter has no +independent existence, but is an idea in the supreme mind, which is +realized in various forms by the human mind. Without mind nothing +exists. Cause cannot exist except as it rests in mind and will. All +so-called physical causes are merely cases of constant sequence of +phenomena. Far from denying the reality of phenomena, Berkeley +insists upon it; but contends that reality depends upon the +supremacy of mind. Abstract matter does not and cannot exist. The +mind can only perceive qualities of objects, and infers the +existence of the objects from them; or as a modern writer tersely +puts it, "The only thing certain is mind. Matter is a doubtful and +uncertain inference of the human intellect."</p> +<p>The essay upon Tar-water attracted great attention. The good +bishop wrote much also for periodicals, mainly upon practical +themes; and in The Querist, an intermittent journal, considered +many matters of ethical and political importance to the country. +Though a bishop of the Established Church, he lived upon the most +friendly terms with his Roman Catholic neighbors, and his labors +were highly appreciated by them.</p> +<p>But his life was waning. His friends had passed away, he had +lost several children, his health was broken. He desired to retire +to Oxford and spend the remainder of his life in scholarly +seclusion. He asked to exchange his bishopric for a canonry, but +this could not be permitted. He then begged to be allowed to resign +his charge, but the king replied that he might live where he +pleased, but that he should die a bishop in spite of himself. In +August, 1752, Bishop Berkeley removed himself, his wife, his +daughter, and his goods to Oxford, where his son George was a +student; and here on the fourteenth of the following January, as he +was resting on his couch by the fireside at tea-time, his busy +brain stopped thinking, and his kind heart ceased to beat.</p> +<br> +<br> +<a name="BERKELEY_01"></a> +<blockquote><b>ON THE PROSPECT OF</b><br> +<b>PLANTING ARTS AND LEARNING IN AMERICA</b><br> +<br> +The Muse, disgusted at an age and clime<br> + Barren of every glorious theme,<br> +In distant lands now waits a better time,<br> + Producing subjects worthy fame:<br> +<br> +In happy climes, where from the genial sun<br> + And virgin earth such scenes ensue,<br> +The force of art by nature seems outdone,<br> + And fancied beauties by the true;<br> +<br> +In happy climes, the seat of innocence,<br> + Where nature guides and virtue rules,<br> +Where men shall not impose for truth and sense<br> + The pedantry of courts and schools:<br> +<br> +There shall be sung another golden age,<br> + The rise of empire and of arts,<br> +The good and great inspiring epic rage,<br> + The wisest heads and noblest hearts.<br> +<br> +Not such as Europe breeds in her decay;<br> + Such as she bred when fresh and young,<br> +When heavenly flame did animate her clay,<br> + By future poets shall be sung.<br> +<br> +Westward the course of empire takes its way;<br> + The four first Acts already past,<br> +A fifth shall close the Drama with the day;<br> + Time's noblest offspring is the last.</blockquote> +<br> +<br> +<a name="BERKELEY_02"></a> +<center><b>ESSAY ON TAR-WATER</b></center> +<br> +<center>From 'Siris'</center> +<br> +<p>The seeds of things seem to lie latent in the air, ready to +appear and produce their kind, whenever they light on a proper +matrix. The extremely small seeds of fern, mosses, mushrooms, and +some other plants, are concealed and wafted about in the air, every +part whereof seems replete with seeds of one kind or other. The +whole atmosphere seems alive. There is everywhere acid to corrode, +and seed to engender. Iron will rust, and mold will grow, in all +places. Virgin earth becomes fertile, crops of new plants ever and +anon show themselves, all which demonstrate the air to be a common +seminary and receptacle of all vivifying principles....</p> +<p>The eye by long use comes to see, even in the darkest cavern; +and there is no subject so obscure, but we may discern some glimpse +of truth by long poring on it. Truth is the cry of all, but the +game of a few. Certainly where it is the chief passion, it doth not +give way to vulgar cares and views; nor is it contented with a +little ardor in the early time of life; active, perhaps, to pursue, +but not so fit to weigh and revise. He that would make a real +progress in knowledge, must dedicate his age as well as youth, the +later growth as well as first fruits, at the altar of truth....</p> +<p>As the nerves are instruments of sensation, it follows that +spasms in the nerves may produce all symptoms, and therefore a +disorder in the nervous system shall imitate all distempers, and +occasion, in appearance, an asthma for instance, a pleurisy, or a +fit of the stone. Now, whatever is good for the nerves in general +is good against all such symptoms. But tar-water, as it includes in +an eminent degree the virtues of warm gums and resins, is of great +use for comforting and strengthening the nerves, curing twitches in +the nervous fibres, cramps also, and numbness in the limbs, +removing anxieties and promoting sleep, in all which cases I have +known it very successful.</p> +<p>This safe and cheap medicine suits all circumstances and all +constitutions, operating easily, curing without disturbing, raising +the spirits without depressing them, a circumstance that deserves +repeated attention, especially in these climates, where strong +liquors so fatally and so frequently produce those very distresses +they are designed to remedy; and if I am not misinformed, even +among the ladies themselves, who are truly much to be pitied. Their +condition of life makes them a prey to imaginary woes, which never +fail to grow up in minds unexercised and unemployed. To get rid of +these, it is said, there are who betake themselves to distilled +spirits. And it is not improbable they are led gradually to the use +of those poisons by a certain complaisant pharmacy, too much used +in the modern practice, palsy drops, poppy cordial, plague water, +and such-like, which being in truth nothing but drams disguised, +yet coming from the apothecaries, are considered only as +medicines.</p> +<p>The soul of man was supposed by many ancient sages to be thrust +into the human body as into a prison, for punishment of past +offenses. But the worst prison is the body of an indolent epicure, +whose blood is inflamed by fermented liquors and high sauces, or +rendered putrid, sharp, and corrosive by a stagnation of the animal +juices through sloth and indolence; whose membranes are irritated +by pungent salts; whose mind is agitated by painful oscillations of +the nervous system, and whose nerves are mutually affected by the +irregular passions of his mind. This ferment in the animal economy +darkens and confounds the intellect. It produceth vain terrors and +vain conceits, and stimulates the soul with mad desires, which, not +being natural, nothing in nature can satisfy. No wonder, therefore, +there are so many fine persons of both sexes, shining themselves, +and shone on by fortune, who are inwardly miserable and sick of +life.</p> +<p>The hardness of stubbed vulgar constitutions renders them +insensible of a thousand things that fret and gall those delicate +people, who, as if their skin was peeled off, feel to the quick +everything that touches them. The remedy for this exquisite and +painful sensibility is commonly sought from fermented, perhaps from +distilled liquors, which render many lives wretched that would +otherwise have been only ridiculous. The tender nerves and low +spirits of such poor creatures would be much relieved by the use of +tar-water, which might prolong and cheer their lives. I do +therefore recommend to them the use of a cordial, not only safe and +innocent, but giving health and spirit as sure as other cordials +destroy them.</p> +<p>I do verily think there is not any other medicine whatsoever so +effectual to restore a crazy constitution and cheer a dreary mind, +or so likely to subvert that gloomy empire of the spleen which +tyrannizeth over the better sort (as they are called) of these free +nations, and maketh them, in spite of their liberty and property, +more wretched slaves than even the subjects of absolute power who +breathe clear air in a sunny climate, while men of low degree often +enjoy a tranquillity and content that no advantage of birth or +fortune can equal. Such indeed was the case while the rich alone +could afford to be debauched; but when even beggars became +debauchees, the case was altered.</p> +<p>The public virtue and spirit of the British legislature never +showed itself more conspicuous in any act, than in that for +suppressing the immoderate use of distilled spirits among the +people, whose strength and numbers constitute the true wealth of a +nation: though evasive arts will, it is feared, prevail so long as +distilled spirits of any kind are allowed, the character of +Englishmen in general being that of Brutus, <i>Quicquid vult valde +vult</i> [whatever he desires he desires intensely]. But why should +such a canker be tolerated in the vitals of a State, under any +pretense, or in any shape whatsoever? Better by far the whole +present set of distillers were pensioners of the public, and their +trade abolished by law; since all the benefit thereof put together +would not balance the hundredth part of its mischief.</p> +<p>This tar-water will also give charitable relief to the ladies, +who often want it more than the parish poor; being many of them +never able to make a good meal, and sitting pale and puny, and +forbidden like ghosts, at their own table, victims of vapors and +indigestion.</p> +<p>Studious persons also, pent up in narrow holes, breathing bad +air, and stooping over their books, are much to be pitied. As they +are debarred the free use of air and exercise, this I will venture +to recommend as the best succedaneum to both; though it were to be +wished that modern scholars would, like the ancients, meditate and +converse more in walks and gardens and open air, which upon the +whole would perhaps be no hindrance to their learning, and a great +advantage to their health. My own sedentary course of life had long +since thrown me into an ill habit, attended with many ailments, +particularly a nervous colic, which rendered my life a burden, and +the more so because my pains were exasperated by exercise. But +since the use of tar-water, I find, though not a perfect recovery +from my old and rooted illness, yet such a gradual return of health +and ease, that I esteem my having taken this medicine the greatest +of all temporal blessings, and am convinced that under Providence I +owe my life to it.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BERLIOZ"></a> +<h2>HECTOR BERLIOZ</h2> +<h3>(1803-1869)</h3> +<br> +<p class="par"><img src="images/letter-t.png" width="30%" alt= +""></p> +<p>o the concert-goer the name Hector Berlioz calls up a series of +vast and magnificent whirlwinds of vocal and orchestral sonority, +the thoughts of scores that sound and look imposingly complex to +the eyes and ears of both the educated and uneducated in the +composer's art. We have a vision of close pages embodying the most +unequivocal and drastic of musical "realism." The full audacity and +mastery of a certain sort of genius are represented in his vast +works. They bespeak, too, the combative musician and reformer. +Berlioz took the kingdom of music by violence.</p> +<p class="rgt"><img src="images/image-385.png" width="45%" alt= +""><br> +<b>Hector Berlioz.</b></p> +<p>His <i>chef d'oeuvres</i> do not all say to us as much as he +meant them to say, not as much as they all uttered twenty years +ago. There is much clay as well as gold in them. But such +tremendous products of his energy and intellect as the 'Requiem,' +the 'Te Deum,' 'The Damnation of Faust,' his best descriptive +symphonies such as the 'Romeo and Juliet,' are yet eloquent to the +public and to the critical-minded. His best was so very good that +his worst--weighed as a matter of principle or execution, regarded +as music or "programme music"--can be excused.</p> +<p>Berlioz's actual biography is a long tale of storm and stress. +Not only was he slow in gaining appreciation while he lived; full +comprehension of his power was not granted him till after his +energetic life was over. Recognition in his own country is +incomplete to day. He was born in 1803, near picturesque Grenoble, +in the little town of Côte St. André, the son of an +excellent country doctor. Sent to Paris to study medicine, he +became a musician against his father's wish, and in lieu of the +allowance that his father promptly withdrew, the young man lived by +engaging in the chorus of the Gymnase, and by catching at every +straw for subsistence. He became a regular music-student of the +Conservatory, under the admirable Lesueur and Reicha; quitted the +Conservatory in disgust at its pedantry, in 1825; and lived and +advanced in musical study as best he could for a considerable time. +His convictions in art were founded largely on the rock of Gluck, +Mozart, Beethoven, and Weber; and however modern, and however +widely his work departs from such academic models, Berlioz never +forswore a certain allegiance to these great and serene masters. He +returned to the Conservatory, studied hard, gained the Prix de +Rome, gradually took a prominent place among Parisian composers, +and was as enthusiastically the subject of a cult as was Wagner. +His concerts and the production of his operas encountered shameful +cabals. His strongest works were neglected or ill-served. To their +honor, German musicians understood him, Schumann and Liszt in +especial. Only in Germany to-day are his colossal operas heard. The +Italian Paganini showed a generous interest in his struggles. +Russia and Austria too admired him, while his compatriots hissed. +His career was one of endless work, disappointments, brief +successes, battles, hopes, and despairs. Personally, too, it was +full of the happiness and unhappiness of the artistic +temperament.</p> +<p>It was between the two periods of his Conservatory life that he +endured his chief sentimental misfortune,--his falling in love with +and finally marrying Henrietta Smithson. Miss Smithson was a young +English actress playing Shakespearean roles in France with a +passing success. She was exquisitely lovely--Delaroche has painted +her spirituelle beauty in his 'Ophelia.' The marriage was the +typically unfortunate artist-match; and she became a paralytic +invalid for years. After her death, tours in Germany and elsewhere, +new works, new troubles, enthusiasms, and disappointments filled up +the remainder of the composer's days. He returned to his beloved +Dauphiné, war-worn and almost as one who has outlived life. +In his provincial retreat he composed the huge operatic duology +'The Trojans at Carthage,' and 'The Taking of Troy,' turning once +more to Virgil, his early literary love. Neither of them is often +heard now, any more than his amazing 'Benvenuto Cellini.' Their +author died in Dauphiné in 1869, weary, disenchanted, but +conscious that he would be greater in the eyes of a coming +generation than ever he had been during his harassed life.</p> +<p>Berlioz's literary remains are valuable as criticisms, and their +personal matter is of brisk and varied charm. His intense feeling +for Shakespeare influenced his whole æsthetic life. He was +extremely well read. His most unchecked tendency to romanticism was +balanced by a fine feeling for the classics. He loved the greater +Greek and Latin writers. His Autobiography is a perfect picture of +himself emotionally, and exhibits his wide æsthetic nature. +His Letters are equally faithful as portraiture. He possessed a +distinctively literary style. He tells us how he fell in +love--twice, thrice; records the disgraceful cabals and intrigues +against his professional success, and explains how a landscape +affected his nerves. He is excellent reading, apparently without +taking much pains to be so. Vivacity, wit, sincerity, are salient +traits. In his volume of musical essays entitled 'A Travers Chants' +(an untranslatable title which may be paraphrased 'Memoirs of Music +and Musicians') are superior appreciations of musicians and +interpreters and performances in opera-house and concert-hall, +expressed with grace and taste in the <i>feuilletonist's</i> best +manner. In the Journal des Débats, year by year, he wrote +himself down indisputably among the great French critics; and he +never misused his critical post to make it a lever for his own +advantage. His great treatise on Orchestration is a standard work +not displaced by Gevaert or more recent authorities. He was not +only a musical intelligence of enormous capacity: he offers perhaps +as typical an embodiment of the French artistic temperament as can +be pointed out.</p> +<br> +<a name="BERLIOZ_01"></a> +<center><b>THE ITALIAN RACE AS MUSICIANS AND AUDITORS</b></center> +<br> +<center>From Berlioz's Autobiography</center> +<br> +<p>It appears, however,--so at least I am assured,--that the +Italians do occasionally listen. But at any rate, music to the +Milanese, no less than to the Neapolitans, Romans, Florentines, and +Genoese, means nothing but an air, a duet, or a trio, well sung. +For anything beyond this they feel simply aversion or indifference. +Perhaps these antipathies are mainly due to the wretched +performance of their choruses and orchestras, which effectually +prevents their knowing anything good outside the beaten track they +have so long followed. Possibly, too, they may to a certain extent +understand the flights of men of genius, if these latter are +careful not to give too rude a shock to their rooted predilections. +The great success of 'Guillaume Tell' at Florence supports this +opinion, and even Spontini's sublime 'Vestale' obtained a series of +brilliant representations at Naples some twenty-five years ago. +Moreover, in those towns which are under the Austrian rule, you +will see the people rush after a military band, and listen with +avidity to the beautiful German melodies, so unlike their usual +insipid cavatinas. Nevertheless, in general it is impossible to +disguise the fact that the Italians as a nation really appreciate +only the material effects of music, and distinguish nothing but its +exterior forms.</p> +<p>Indeed, I am much inclined to regard them as more inaccessible +to the poetical side of art, and to any conceptions at all above +the common, than any other European nation. To the Italians music +is a sensual pleasure, and nothing more. For this most beautiful +form of expression they have scarcely more respect than for the +culinary art. In fact, they like music which they can take in at +first hearing, without reflection or attention, just as they would +do with a plate of macaroni.</p> +<p>Now, we French, mean and contemptible musicians as we are, +although we are no better than the Italians when we furiously +applaud a trill or a chromatic scale by the last new singer, and +miss altogether the beauty of some grand recitative or animated +chorus, yet at least we can listen, and if we do not take in a +composer's ideas it is not our fault. Beyond the Alps, on the +contrary, people behave in a manner so humiliating both to art and +to artists, whenever any representation is going on, that I confess +I would as soon sell pepper and spice at a grocer's in the Rue St. +Denis as write an opera for the Italians--nay, I would +<i>sooner</i> do it.</p> +<p>Added to this, they are slaves to routine and to fanaticism to a +degree one hardly sees nowadays, even at the Academy. The slightest +unforeseen innovation, whether in melody, harmony, rhythm, or +instrumentation, puts them into a perfect fury; so much so, that +the <i>dilettanti</i> of Rome, on the appearance of Rossini's +'Barbiere di Seviglia' (which is Italian enough in all conscience), +were ready to kill the young maestro for having the insolence to do +anything unlike Paisiello.</p> +<p>But what renders all hope of improvement quite chimerical, and +tempts one to believe that the musical feeling of the Italians is a +mere necessary result of their organization,--the opinion both of +Gall and Spurzheim,--is their love for all that is dancing, +brilliant, glittering, and gay, to the utter neglect of the various +passions by which the characters are animated, and the confusion of +time and place--in a word, of good sense itself. Their music is +always laughing: and if by chance the composer in the course of the +drama permits himself for one moment not to be absurd, he at once +hastens back to his prescribed style, his melodious roulades and +<i>grupetti</i>, his trills and contemptible frivolities, either +for voice or orchestra; and these, succeeding so abruptly to +something true to life, have an unreal effect, and give the +<i>opera seria</i> all the appearance of a parody or +caricature.</p> +<p>I could quote plenty of examples from famous works; but speaking +generally of these artistic questions, is it not from Italy that we +get those stereotyped conventional forms adopted by so many French +composers, resisted by Cherubim and Spontini alone among the +Italians, though rejected entirely by the Germans? What +well-organized person with any sense of musical expression could +listen to a quartet in which four characters, animated by totally +conflicting passions, should successively employ the same melodious +phrase to express such different words as these: "O, toi que +j'adore!" "Quelle terreur me glace!" "Mon coeur bat de plaisir!" +"La fureur me transporte!" To suppose that music is a language so +vague that the natural inflections of fury will serve equally well +for fear, joy, and love, only proves the absence of that sense +which to others makes the varieties of expression in music as +incontestable a reality as the existence of the sun.... I regard +the course taken by Italian composers as the inevitable result of +the instincts of the public, which react more or less on the +composers themselves.</p> +<br> +<a name="BERLIOZ_02"></a> +<center><b>THE FAMOUS "SNUFF-BOX TREACHERY"</b></center> +<br> +<center>From the Autobiography</center> +<br> +<p>Now for another intrigue, still more cleverly contrived, the +black depths of which I hardly dare fathom. I incriminate no one; I +simply give the naked facts, without the smallest commentary, but +with scrupulous exactness. General Bernard having himself informed +me that my Requiem was to be performed on certain conditions, ... I +was about to begin my rehearsals when I was sent for by the +Director of the Beaux-Arts.</p> +<p>"You know," said he, "that Habeneck has been commissioned to +conduct all the great official musical festivals?" ("Come, good!" +thought I: "here is another tile for my devoted head.") "It is true +that you are now in the habit of conducting the performance of your +works yourself; but Habeneck is an old man" (another tile), "and I +happen to know that he will be deeply hurt if he does not preside +at your Requiem. What terms are you on with him?"</p> +<p>"What terms? We have quarreled. I hardly know why. For three +years he has not spoken to me. I am not aware of his motives, and +indeed have not cared to ask. He began by rudely refusing to +conduct one of my concerts. His behavior towards me has been as +inexplicable as it is uncivil. However, as I see plainly that he +wishes on the present occasion to figure at Marshal +Damrémont's ceremony, and as it would evidently be agreeable +to you, I consent to give up the baton to him, on condition that I +have at least one full rehearsal."</p> +<p>"Agreed," replied the Director; "I will let him know about +it."</p> +<p>The rehearsals were accordingly conducted with great care. +Habeneck spoke to me as if our relations with each other had never +been interrupted, and all seemed likely to go well.</p> +<p>The day of the performance arrived, in the Church of the +Invalides, before all the princes, peers, and deputies, the French +press, the correspondents of foreign papers, and an immense crowd. +It was absolutely essential for me to have a great success; a +moderate one would have been fatal, and a failure would have +annihilated me altogether.</p> +<p>Now listen attentively.</p> +<p>The various groups of instruments in the orchestra were +tolerably widely separated, especially the four brass bands +introduced in the 'Tuba mirum,' each of which occupied a corner of +the entire orchestra. There is no pause between the 'Dies +Iræ' and the 'Tuba mirum,' but the pace of the latter +movement is reduced to half what it was before. At this point the +whole of the brass enters, first all together, and then in +passages, answering and interrupting, each a third higher than the +last. It is obvious that it is of the greatest importance that the +four beats of the new <i>tempo</i> should be distinctly marked, or +else the terrible explosion, which I had so carefully prepared with +combinations and proportions never attempted before or since, and +which, rightly performed, gives such a picture of the Last Judgment +as I believe is destined to live, would be a mere enormous and +hideous confusion.</p> +<p>With my habitual mistrust, I had stationed myself behind +Habeneck, and turning my back on him, overlooked the group of +kettle-drums, which he could not see, when the moment approached +for them to take part in the general melee. There are perhaps one +thousand bars in my Requiem. Precisely in that of which I have just +been speaking, when the movement is retarded, and the wind +instruments burst in with their terrible flourish of trumpets; in +fact, just in <i>the</i> one bar where the conductor's motion is +absolutely indispensable, Habeneck <i>puts down his baton, quietly +takes out his snuff box</i>, and proceeds to take a pinch of snuff. +I always had my eye in his direction, and instantly turned rapidly +on one heel, and springing forward before him, I stretched out my +arm and marked the four great beats of the new movement. The +orchestras followed me, each in order. I conducted the piece to the +end, and the effect which I had longed for was produced. When, at +the last words of the chorus, Habeneck saw that the 'Tuba mirum' +was saved, he said, "What a cold perspiration I have been in! +Without you we should have been lost." "Yes, I know," I answered, +looking fixedly at him. I did not add another word.... Had he done +it on purpose? ... Could it be possible that this man had dared to +join my enemy, the Director, and Cherubini's friends, in plotting +and attempting such rascality? I don't wish to believe it ... but I +cannot doubt it. God forgive me if I am doing the man +injustice!</p> +<br> +<a name="BERLIOZ_03"></a> +<center><b>ON GLUCK</b></center> +<br> +<center>From the Autobiography</center> +<br> +<p>Of all the ancient composers, Gluck has, I believe, the least to +fear from the incessant revolutions of art. He sacrificed nothing +either to the caprices of singers, the exigencies of fashion, or +the inveterate routine with which he had to contend on his arrival +in France, after his protracted struggles with the Italian +theatres. Doubtless his conflicts at Milan, Naples, and Parma, +instead of weakening him, had increased his strength by revealing +its full extent to himself; for in spite of the fanaticism then +prevalent in our artistic customs, he broke these miserable +trammels and trod them underfoot with the greatest ease. True, the +clamor of the critics once succeeded in forcing him into a reply; +but it was the only indiscretion with which he had to reproach +himself, and thenceforth, as before, he went straight to his aim in +silence. We all know what that aim was; we also know that it was +never given to any man to succeed more fully. With less conviction +or less firmness, it is probable that, notwithstanding his natural +genius, his degenerate works would not have long survived those of +his mediocre rivals now completely forgotten. But truth of +expression, purity of style, and grandeur of form belong to all +time. Gluck's fine passages will always be fine. Victor Hugo is +right: the heart never grows old.</p> +<br> +<a name="BERLIOZ_04"></a> +<center><b>ON BACH</b></center> +<br> +<center>From the Autobiography</center> +<br> +<p>You will not, my dear Demarest, expect an analysis from me of +Bach's great work: such a task would quite exceed my prescribed +limits. Indeed, the movement performed at the Conservatoire three +years ago may be considered the type of the author's style +throughout the work. The Germans profess an unlimited admiration +for Bach's recitatives; but their peculiar characteristic +necessarily escaped me, as I did not understand the language and +was unable to appreciate their expression. Whoever is familiar with +our musical customs in Paris must witness, in order to believe, the +attention, respect, and even reverence with which a German public +listens to such a composition. Every one follows the words on the +book with his eyes; not a movement among the audience, not a murmur +of praise or blame, not a sound of applause; they are listening to +a solemn discourse, they are hearing the gospel sung, they are +attending divine service rather than a concert. And really such +music ought to be thus listened to. They adore Bach, and believe in +him, without supposing for a moment that his divinity could ever be +called into question. A heretic would horrify them, he is forbidden +even to speak of him. God is God and Bach is Bach. Some days after +the performance of Bach's <i>chef d'oeuvre</i>, the Singing Academy +announced Graun's 'Tod Jesu.' This is another sacred work, a holy +book; the worshipers of which are, however, mainly to be found in +Berlin, whereas the religion of Bach is professed throughout the +north of Germany.</p> +<br> +<a name="BERLIOZ_05"></a> +<center><b>MUSIC AS AN ARISTOCRATIC ART</b></center> +<br> +<center>From the Autobiography</center> +<br> +<p>Dramatic art in the time of Shakespeare was more appreciated by +the masses than it is in our day by those nations which lay most +claim to possess a feeling for it. Music is essentially +aristocratic; it is a daughter of noble race, such as princes only +can dower nowadays; it must be able to live poor and unmated rather +than form a <i>mésalliance</i>.</p> +<br> +<a name="BERLIOZ_06"></a> +<center><b>THE BEGINNING OF A "GRAND PASSION"</b></center> +<br> +<center>From the Autobiography</center> +<br> +<p>I have now come to the grand drama of my life; but I shall not +relate all its painful details. It is enough to say that an English +company came over to perform Shakespeare's plays, then entirely +unknown in France, at the Odéon. I was present at the first +performance of 'Hamlet,' and there, in the part of Ophelia, I saw +Miss Smithson, whom I married five years afterward. I can only +compare the effect produced by her wonderful talent, or rather her +dramatic genius, on my imagination and heart, with the convulsion +produced on my mind by the work of the great poet whom she +interpreted. It is impossible to say more.</p> +<p>This sudden and unexpected revelation of Shakespeare overwhelmed +me. The lightning-flash of his genius revealed the whole heaven of +art to me, illuminating its remotest depths in a single flash. I +recognized the meaning of real grandeur, real beauty, and real +dramatic truth; and I also realized the utter absurdity of the +ideas circulated by Voltaire in France about Shakespeare, and the +pitiful pettiness of our old poetic school, the offspring of +pedagogues and <i>frères ignorantins</i>.</p> +<p>But the shock was too great, and it was a long while before I +recovered from it. I became possessed by an intense, overpowering +sense of sadness, that in my then sickly, nervous state produced a +mental condition adequately to describe which would take a great +physiologist. I could not sleep, I lost my spirits, my favorite +studies became distasteful to me, and I spent my time wandering +aimlessly about Paris and its environs. During that long period of +suffering, I can only recall four occasions on which I slept, and +then it was the heavy, death-like sleep produced by complete +physical exhaustion. These were one night when I had thrown myself +down on some sheaves in a field near Ville-Juif; one day in a +meadow in the neighborhood of Sceaux; once on the snow on the banks +of the frozen Seine, near Neuilly; and lastly, on a table in the +Café du Cardinal at the corner of the Boulevard des Italiens +and the Rue Richelieu, where I slept for five hours, to the terror +of the <i>garçons</i>, who thought I was dead and were +afraid to come near me.</p> +<p>It was on my return from one of these wanderings, in which I +must have seemed like one seeking his soul, that my eyes fell on +Moore's 'Irish Melodies,' lying open on my table at the song +beginning "When he who adores thee." I seized my pen, and then and +there wrote the music to that heart-rending farewell, which is +published at the end of my collection of songs, 'Irlande,' under +the title of 'Elégie.' This is the only occasion on which I +have been able to vent any strong feeling in music while still +under its influence. And I think that I have rarely reached such +intense truth of musical expression, combined with so much +realistic power of harmony.</p> +<br> +<a name="BERLIOZ_07"></a> +<center><b>ON THEATRICAL MANAGERS IN RELATION TO ART</b></center> +<br> +<center>From the 'Autobiography'</center> +<br> +<p>I have often wondered why theatrical managers everywhere have +such a marked predilection for what genuine artists, cultivated +minds, and even a certain section of the public itself persist in +regarding as very poor manufacture, short-lived productions, the +handiwork of which is as valueless as the raw material itself. Not +as though platitudes always succeeded better than good works; +indeed, the contrary is often the case. Neither is it that careful +compositions entail more expense than "shoddy." It is often just +the other way. Perhaps it arises simply from the fact that the good +works demand the care, study, attention, and, in certain cases, +even the mind, talent, and inspiration of every one in the theatre, +from the manager down to the prompter. The others, on the contrary, +being made especially for lazy, mediocre, superficial, ignorant, +and silly people, naturally find a great many supporters. Well! a +manager likes, above everything, whatever brings him in amiable +speeches and satisfied looks from his underlings, he likes things +that require no learning and disturb no accepted ideas or habits, +which gently go with the stream of prejudice, and wound no +self-love, because they reveal no incapacity; in a word, things +which do not take too long to get up.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BERNARD"></a> +<h2>SAINT BERNARD OF CLAIRVAUX</h2> +<h3>(1091-1153)</h3> +<br> +<p class="par"><img src="images/letter-b.png" width="30%" alt= +""></p> +<p>orn in 1091, at Fontaines, a castle of his father Tescelin, near +Dijon, France, and devotedly instructed by his pious and gentle +mother Aleth, Bernard of Clairvaux was from early childhood imbued +with an active religious enthusiasm. When the time came to choose +his way of life, instead of going into battle with his knighted +brothers, he made them, as well as his uncle the count of Touillon, +join a band of thirty companions, with whom he knelt in the rude +chapel at Citeaux to beg the tonsure from Abbot Stephen Harding. To +rise at two o'clock in the morning and chant the prayer-offices of +the church until nine, to do hard manual labor until two, when the +sole meal of the day--composed of vegetable food only--was taken, +to labor again until nightfall and sing the vespers until an early +bedtime hour: such was the Cistercian's daily observance of his +vows of poverty, chastity, and obedience,--vows which Bernard and +his followers were to lay down only upon the cross of ashes spread +upon the hard cell floor to receive their outstretched, dying +bodies.</p> +<p class="rgt"><img src="images/image-395.png" width="45%" alt= +""><br> +<b>Saint Bernard.</b></p> +<p>Citeaux became famous from the coming of these new recruits. +There was, in those tough old days, a soldierly admiration for +faithfulness to discipline; and when Bernard was professed in 1114, +Abbot Stephen was obliged to enlarge the field of work. Bernard was +sent in 1115 to build a house and clear and cultivate a farm in a +thickly wooded and thief-infested glen to the north of Dijon, known +as the Valley of Wormwood. Here at the age of twenty-four, in a +rude house built by their own hands with timber cut from the land, +the young abbot and his companions lived like the sturdy pioneers +of our Northwest, the earth their floor and narrow wooden bunks in +a low dark loft their beds. Of course the stubborn forest gave way +slowly, and grudgingly opened sunny hillsides to the vine and +wheat-sheaf. The name of the settlement was changed to Clairvaux, +but for many years the poor monks' only food was barley bread, with +broth made from boiled beech leaves. Here Tescelin came in his old +age to live under the rule of his sons; and Humbeline, the wealthy +and rank-proud daughter, one day left her gay retinue at the door +of their little abbey and went to join the nuns at Jouilly.</p> +<p>While Bernard was studying and planting at Clairvaux, the word +of his piety and worth went everywhere through the land, and he +came to be consulted not only by his Superior at Citeaux, but by +villein and noble, even to the august persons of Louis the Fat of +France and Henry the Norman of England. His gentleness and +integrity became the chief reliance of the royal house of France, +and his sermons and letters began to be quoted at council board and +synod even as far as Rome. The austerity and poverty of the +Cistercians had caused some friends of the monks of Cluny to fall +under Bernard's zealous indignation. He wrote to William of St. +Thierry a famous letter, mildly termed an Apology; in which, by the +most insinuating and biting satire, the laxity and indulgence which +had weakened or effaced the power of monastic example (from which +arraignment the proud house of Cluny was deemed not to escape +scot-free) were lashed with uncompromising courage.</p> +<p>France and Burgundy, with the more or less helpful aid of the +Norman dukes in England, had been very loyal to the interests of +the Papacy. When the schism of Anacletus II. arose in 1130, +Innocent II., driven from Rome by the armed followers of Peter de +Leon, found his way at once to the side of Louis VI. There he found +Bernard, and upon him he leaned from that time until the latter had +hewed a road for him back to Rome through kings, prelates, +statesmen, and intriguers, with the same unflinching steadfastness +with which he had cut a way to the sunlight for his vines and +vegetables in the Valley of Wormwood. Bernard it was who persuaded +Henry of England to side with Innocent, and it was he who stayed +the revival of the question of investitures and won the Emperor to +the Pope at Liege. At the Council of Rheims in October 1131, +Bernard was the central figure; and when the path was open for a +return to Italy, the restored Pope took the abbot with him, leaving +in return a rescript releasing Citeaux from tithes. Bernard stayed +in Italy until 1135, and left Innocent secure in Rome.</p> +<p>After a short period of peace at Clairvaux, he had to hurry off +again to Italy on account of the defection of the influential +monastery of Monte Casino to Anacletus.</p> +<p>Not long after his last return from Italy, Bernard met Pierre +Abélard. This brilliant and unfortunate man had incurred the +charge of heresy, and at some time in the year 1139 Bernard was +induced to meet and confer with him. Nothing seems to have resulted +from the conference, for Abélard went in 1140 to the Bishop +of Sens and demanded an opportunity of being confronted with +Bernard at an approaching synod. The abbot of Clairvaux, although +unwilling, was at last persuaded to accept the challenge. Louis +VII., King of France, Count Theobald of Champagne, and the nobles +of the realm assembled to witness the notable contest. +Abélard came with a brilliant following; but on the second +day of the synod, to the surprise of everybody, he abruptly closed +the proceeding by appealing to Rome. The works of Abélard +were condemned, but his appeal and person were respected, and +Bernard prepared a strong condemnatory letter to be sent to the +Pope. As the great scholar was on his way to Rome to follow his +appeal, he stayed to rest at Cluny with Peter the Venerable, who +persuaded him to go to Bernard. When the two great hearts met in +the quiet of Clairvaux, all animosities were resolved in peace; and +Abélard, returning to Cluny, abandoned his appeal and +observed the rule of the house until his death, which he endured, +as Peter the Venerable wrote to Héloise, fully prepared and +comforted, at Châlons in 1142.</p> +<p>The infidels of the East having taken Edessa in 1146, the power +of the Christians in the Holy Land was broken; and Eugenius III., +who had been a monk of Clairvaux, appointed Bernard to preach a new +crusade. He set on foot a vast host under the personal leadership +of Louis VII. and Conrad the Emperor, accompanied by Queen Eleanor +and many noble ladies of both realms. The ill fortunes which +attended this war brought to Bernard the greatest bitterness of his +life. So signal was the failure of the Second Crusade, that but a +pitiful remnant of the brilliant army which had crossed the +Bosphorus returned to Europe, and Bernard was assailed with +execration from hut and castle throughout the length of Europe. His +only answer was as gentle as his life: "Better that I be blamed +than God." He did not neglect, however, to point out that the evil +lives and excesses of those who attempted the Crusade were the real +causes of the failure of the Christian arms.</p> +<p>In Languedoc in 1147 he quelled a dangerous heresy, and silenced +Gilbert, bishop of Poitiers, at the Council of Rheims.</p> +<p>In 1148 Malachy, Archbishop of Armagh and Primate of Ireland, +who nine years before had visited Clairvaux and formed a lasting +friendship for Bernard, came there again to die in the arms of his +friend. It is related that the two saints had exchanged habits upon +the first visit, and that Malachy wore that of Bernard on his +death-bed. The funeral sermon preached by Bernard upon the life and +virtue of his Irish comrade is reputed to be one of the finest +extant. It seemed as if the Gael had come to show the Goth the way +of death. Bernard's health, early broken by self-imposed austerity +and penances, had never been robust, and it had often seemed that +nothing but the vigor of his will had kept him from the grave. In +the year 1153 he was stricken with a fatal illness. Yet when the +archbishop of Trèves came to his bedside, imploring his aid +to put an end to an armed quarrel between the nobles and the people +of Metz, he went cheerfully but feebly to the field between the +contending parties, and by words which came with pain and in the +merest whispers, he persuaded the men who were already at each +other's throats to forget their enmities.</p> +<p>He died at Clairvaux on January 12th, 1153, and was buried, as +he wished, in the habit of Saint Malachy. In 1174 he was sainted, +and his life is honored in the liturgy of the church on the 20th of +August.</p> +<p>The marks of Saint Bernard's character were sweetness and gentle +tolerance in the presence of honest opposition, and implacable +vigor against shams and evil-doing. His was the perfect type of +well-regulated individual judgment. His humility and love of +poverty were true and unalterable. In Italy he refused the mitres +of Genoa and Milan in turn, and in France successively declined the +sees of Châlons, Langres, and Rheims. He wrote and spoke with +simplicity and directness, and with an energy and force of +conviction which came from absolute command of his subject. He did +not disdain to use a good-tempered jest as occasion required, and +his words afford some pleasant examples of naïve puns. He was +a tireless letter-writer, and some of his best writings are in that +form. He devoted much labor to his sermons on the Canticle of +Canticles, the work remaining unfinished at his death. He wrote a +long poem on the Passion, one beautiful hymn of which is included +in the Roman Breviary.</p> +<br> +<br> +<a name="BERNARD_01"></a> +<blockquote><b>SAINT BERNARD'S HYMN</b><br> +<br> +Jesu! the very thought of thee<br> + With sweetness fills my breast,<br> +But sweeter far thy face to see<br> + And in thy presence rest.<br> +<br> +Nor voice can sing nor heart can frame,<br> + Nor can the memory find,<br> +A sweeter sound than thy blest name,<br> + O Savior of mankind!<br> +<br> +O hope of every contrite heart!<br> + O joy of all the meek!<br> +To those who fall, how kind thou art,<br> + How good to those who seek!<br> +<br> +But what to those who find? Ah, this<br> + Nor tongue nor pen can show.<br> +The love of Jesus, what it is<br> + None but his loved ones know.<br> +<br> +Jesu! our only joy be thou,<br> + As thou our prize wilt be!<br> +Jesu! be thou our glory now<br> + And through eternity!</blockquote> +<br> +<br> +<a name="BERNARD_02"></a> +<center><b>MONASTIC LUXURY</b></center> +<br> +<center>From the Apology to the Abbot William of St. +Thierry</center> +<br> +<p>There is no conversation concerning the Scriptures, none +concerning the salvation of souls; but small-talk, laughter, and +idle words fill the air. At dinner the palate and ears are equally +tickled--the one with dainties, the other with gossip and news, +which together quite prevent all moderation in feeding. In the mean +time dish after dish is set on the table; and to make up for the +small privation of meat, a double supply is provided of well-grown +fish. When you have eaten enough of the first, if you taste the +second course, you will seem to yourself hardly to have touched the +former: such is the art of the cooks, that after four or five +dishes have been devoured, the first does not seem to be in the way +of the last, nor does satiety invade the appetite.... Who could +say, to speak of nothing else, in how many forms eggs are cooked +and worked up? with what care they are turned in and out, made hard +or soft, or chopped fine; now fried, now roasted, now stuffed; now +they are served mixed with other things, now by themselves. Even +the external appearance of the dishes is such that the eye, as well +as the taste, is charmed....</p> +<p>Not only have we lost the spirit of the old monasteries, but +even its outward appearance. For this habit of ours, which of old +was the sign of humility, by the monks of our day is turned into a +source of pride. We can hardly find in a whole province wherewithal +we condescend to be clothed. The monk and the knight cut their +garments, the one his cowl, the other his cloak, from the same +piece. No secular person, however great, whether king or emperor, +would be disgusted at our vestments if they were only cut and +fitted to his requirements. But, say you, religion is in the heart, +not in the garments? True; but you, when you are about to buy a +cowl, rush over the towns, visit the markets, examine the fairs, +dive into the houses of the merchants, turn over all their goods, +undo their bundles of cloth, feel it with your fingers, hold it to +your eyes or to the rays of the sun, and if anything coarse or +faded appears, you reject it. But if you are pleased with any +object of unusual beauty or brightness, you at once buy it, +whatever the price. I ask you, Does this come from the heart, or +your simplicity?</p> +<p>I wonder that our abbots allow these things, unless it arises +from the fact that no one is apt to blame any error with confidence +if he cannot trust in his own freedom from the same; and it is a +right human quality to forgive without much anger those +self-indulgences in others for which we ourselves have the +strongest inclination. How is the light of the world overshadowed! +Those whose lives should have been the way of life to us, by the +example they give of pride, become blind leaders of the blind. What +a specimen of humility is that, to march with such pomp and +retinue, to be surrounded with such an escort of hairy men, so that +one abbot has about him people enough for two bishops. I lie not +when I say, I have seen an abbot with sixty horses after him, and +even more. Would you not think, as you see them pass, that they +were not fathers of monasteries, but lords of castles--not +shepherds of souls, but princes of provinces? Then there is the +baggage, containing table-cloths, and cups and basins, and +candlesticks, and well-filled wallets--not with the coverlets, but +the ornaments of the beds. My lord abbot can never go more than +four leagues from his home without taking all his furniture with +him, as if he were going to the wars, or about to cross a desert +where necessaries cannot be had. Is it quite impossible to wash +one's hands in, and drink from, the same vessel? Will not your +candle burn anywhere but in that gold or silver candlestick of +yours, which you carry with you? Is sleep impossible except upon a +variegated mattress, or under a foreign coverlet? Could not one +servant harness the mule, wait at dinner, and make the bed? If such +a multitude of men and horses is indispensable, why not at least +carry with us our necessaries, and thus avoid the severe burden we +are to our hosts?...</p> +<br> +<a name="illus-1824.jpg"></a> +<p class="ctr"><a href="images/illus-1824.jpg"><img src= +"images/illus-1824.jpg" width="50%" alt=""></a><br> +<b>Monastic Luxury.</b><br> +Photogravure from a Painting by Edward Grützner.</p> +<br> +<p>By the sight of wonderful and costly vanities men are prompted +to give, rather than to pray. Some beautiful picture of a saint is +exhibited--and the brighter the colors the greater the holiness +attributed to it: men run, eager to kiss; they are invited to give, +and the beautiful is more admired than the sacred is revered. In +the churches are suspended, not <i>coronae</i>, but wheels studded +with gems and surrounded by lights, which are scarcely brighter +than the precious stones which are near them. Instead of +candlesticks, we behold great trees of brass fashioned with +wonderful skill, and glittering as much through their jewels as +their lights. What do you suppose is the object of all this? The +repentance of the contrite, or the admiration of the gazers? O +vanity of vanities! but not more vain than foolish. The church's +walls are resplendent, but the poor are not there.... The curious +find wherewith to amuse themselves; the wretched find no stay for +them in their misery. Why at least do we not reverence the images +of the saints, with which the very pavement we walk on is covered? +Often an angel's mouth is spit into, and the face of some saint +trodden on by passers-by.... But if we cannot do without the +images, why can we not spare the brilliant colors? What has all +this to do with monks, with professors of poverty, with men of +spiritual minds?</p> +<p>Again, in the cloisters, what is the meaning of those ridiculous +monsters, of that deformed beauty, that beautiful deformity, before +the very eyes of the brethren when reading? What are disgusting +monkeys there for, or satyrs, or ferocious lions, or monstrous +centaurs, or spotted tigers, or fighting soldiers, or huntsmen +sounding the bugle? You may see there one head with many bodies, or +one body with numerous heads. Here is a quadruped with a serpent's +tail; there is a fish with a beast's head; there a creature, in +front a horse, behind a goat; another has horns at one end, and a +horse's tail at the other. In fact, such an endless variety of +forms appears everywhere, that it is more pleasant to read in the +stonework than in books, and to spend the day in admiring these +oddities than in meditating on the law of God. Good God! if we are +not ashamed of these absurdities, why do we not grieve at the cost +of them?</p> +<br> +<a name="BERNARD_03"></a> +<center><b>FROM HIS SERMON ON THE DEATH OF GERARD</b></center> +<br> +<center>"As the tents of Kedar, as the curtains of Solomon."--Sol. +Song i. 5</center> +<br> +<p>Perhaps both members of the comparison--viz., "As the tents of +Kedar, as the curtains of Solomon"--refer only to the first words, +"I am black." It may be, however, that the simile is extended to +both clauses, and each is compared with each. The former sense is +the more simple, the latter the more obscure. Let us try both, +beginning with the latter, which seems the more difficult. There is +no difficulty, however, in the first comparison, "I am black as the +tents of Kedar," but only in the last. For Kedar, which is +interpreted to mean "darkness" or "gloom," may be compared with +blackness justly enough; but the curtains of Solomon are not so +easily likened to beauty. Moreover, who does not see that "tents" +fit harmoniously with the comparison? For what is the meaning of +"tents" except our bodies, in which we sojourn for a time? Nor have +we an abiding city, but we seek one to come. In our bodies, as +under tents, we carry on warfare. Truly, we are violent to take the +kingdom. Indeed, the life of man here on earth is a warfare; and as +long as we do battle in this body, we are absent from the +Lord,--i.e., from the light. For the Lord is light; and so far as +any one is not in Him, so far he is in darkness, i.e., in Kedar. +Let each one then acknowledge the sorrowful exclamation as his +own:--"Woe is me that my sojourn is prolonged! I have dwelt with +those who dwell in Kedar. My soul hath long sojourned in a strange +land." Therefore this habitation of the body is not the mansion of +the citizen, nor the house of the native, but either the soldier's +tent or the traveler's inn. This body, I say, is a tent, and a tent +of Kedar, because, by its interference, it prevents the soul from +beholding the infinite light, nor does it allow her to see the +light at all, except through a glass darkly, and not face to +face.</p> +<p>Do you not see whence blackness comes to the Church--whence a +certain rust cleaves to even the fairest souls? Doubtless it comes +from the tents of Kedar, from the practice of laborious warfare, +from the long continuance of a painful sojourn, from the straits of +our grievous exile, from our feeble, cumbersome bodies; for the +corruptible body presseth down the soul, and the earthly tabernacle +weigheth down the mind that museth upon many things. Therefore the +souls' desire to be loosed, that being freed from the body they may +fly into the embraces of Christ. Wherefore one of the miserable +ones said, groaning, "O wretched man that I am, who shall deliver +me from the body of this death!" For a soul of this kind knoweth +that, while in the tents of Kedar, she cannot be entirely free from +spot or wrinkle, nor from stains of blackness, and wishes to go +forth and to put them off. And here we have the reason why the +spouse calls herself black as the tents of Kedar. But now, how is +she beautiful as the curtains of Solomon? Behind these curtains I +feel that an indescribable holiness and sublimity are veiled, which +I dare not presume to touch, save at the command of Him who +shrouded and sealed the mystery. For I have read, He that is a +searcher of Majesty shall be overwhelmed with the glory. I pass on +therefore. It will devolve on you, meanwhile, to obtain grace by +your prayers, that we may the more readily, because more +confidently, recur to a subject which needs attentive minds; and it +may be that the pious knocker at the door will discover what the +bold explorer seeks in vain.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BERNARD2"></a> +<h2>BERNARD OF CLUNY</h2> +<h3>Twelfth Century</h3> +<center>BY WILLIAM C. PRIME</center> +<br> +<p class="par"><img src="images/letter-l.png" width="30%" alt= +""></p> +<p>ittle is known concerning the monk Bernard, sometimes called +Bernard of Morlay and sometimes Bernard of Cluny. The former name +is probably derived from the place of his origin, the latter from +the fact that in the introduction to his poem 'De Contemptu Mundi' +he describes himself as a brother of the monks of Cluny. He lived +in the twelfth century, a period of much learning in the church; +and that he was himself a man of broad scholarship and brilliant +abilities, the Latin poem, his only surviving work, abundantly +testifies.</p> +<p>This poem, divided into three books, consists in all of about +three thousand lines. It is introduced by a short address in prose +to Father Peter, the abbot of the monastery, in which the author +describes the peculiar operations of his mind in undertaking and +accomplishing his marvelous poem. He believes and asserts, "not +arrogantly, but in all humility and therefore boldly," that he had +divine aid. "Unless the spirit of wisdom and understanding had been +with me and filled me, I had never been able to construct so long a +work in such a difficult metre."</p> +<p>This metre is peculiar. In technical terms each line consists of +three parts: the first part including two dactyls, the second part +two dactyls, the third part one dactyl and one trochee. The final +trochee, a long and a short syllable, rhymes with the following or +preceding line. There is also a rhyme, in each line, of the second +dactyl with the fourth. This will be made plain to the ordinary +reader by quoting the first two lines of the poem, divided into +feet:--</p> +<blockquote>Hora no | vissima | tempora | pessima | sunt, vigi | +lemus;<br> +Ecce mi | naciter | imminet | arbiter | ille su | +premus.</blockquote> +<p>The adoption of such a metre would seem to be a clog on +flexibility and force of expression. But in this poem it is not so. +The author rejoices in absolute freedom of diction. The rhythm and +rhyme alike lend themselves to the uses, now of bitter satire and +revilings, now of overpowering hope and exultant joy.</p> +<p>The title scarcely gives an idea of the subject-matter of the +poem. The old Benedictine, living for the time in his cell, had +nevertheless known the world of his day, had lived in it and been +of it. To him it seemed an evil world, full of crimes, of moils, of +deceits, of abominations; the Church seemed corrupt, venal, +shameless, and Rome the centre and the soul of this accursed world. +Pondering on these conditions, the monk turned his weary gaze +toward the celestial country, the country of purity and peace, and +to the King on his throne, the centre and source of eternal +beatitude. The contrast, on which he dwelt for a long time, filled +him on the one hand with burning indignation, on the other with +entrancing visions and longings.</p> +<p>At last he broke out into magnificent poetry. It is not possible +to translate him into any other language than the Latin in which he +wrote, and preserve any of the grandeur and beauty which result +from the union of ardent thought with almost miraculous music of +language. Dr. Neale aptly speaks of the majestic sweetness which +invests Bernard's poem. The expression applies specially to those +passages, abounding in all parts of the poem, in which he describes +the glory and the peace of the better country. Many of these have +been translated or closely imitated by Dr. Neale, with such +excellent effect that several hymns which are very popular in +churches of various denominations have been constructed from Dr. +Neale's translations. Other portions of the poem, especially those +in which the vices and crimes of the Rome of that time are +denounced and lashed with unsparing severity, have never been +translated, and are not likely ever to be, because of the +impossibility of preserving in English the peculiar force of the +metre; and translation without this would be of small value. The +fire of the descriptions of heaven is increased by the contrast in +which they stand with descriptions of Rome in the twelfth century. +Here, for example, is a passage addressed to Rome:--</p> +<blockquote>"Fas mihi dicere, fas mihi scribere 'Roma fuisti,'<br> +Obruta moenibus, obruta moribus, occubuisti.<br> +Urbs ruis inclita, tam modo subdita, quam prius alta:<br> +Quo prius altior, tam modo pressior, et labefacta.<br> +Fas mihi scribere, fas mihi dicere 'Roma, peristi.'<br> +Sunt tua moenia vociferantia 'Roma ruisti.'"</blockquote> +<p>And here is one addressed to the City of God:--</p> +<blockquote>"O sine luxibus, O sine luctibus, O sine lite,<br> +Splendida curia, florida patria, patria vitæ.<br> +Urbs Syon inclita, patria condita littore tuto,<br> +Te peto, te colo, te flagro, te volo, canto, saluto."</blockquote> +<p>While no translation exists of this remarkable work, nor indeed +can be made to reproduce the power and melody of the original, yet +a very good idea of its spirit may be had from the work of Dr. J. +Mason Neale, who made from selected portions this English poem, +which is very much more than what he modestly called it, "a close +imitation." Dr. Neale has made no attempt to reproduce the metre of +the original.</p> +<p class="sign"><img src="images/sign-408.png" width="60%" alt= +""></p> +<br> +<br> +<br> +<br> +<br> +<a name="BERNARD2_01"></a> +<blockquote><b>BRIEF LIFE IS HERE OUR PORTION</b><br> +<br> +Brief life is here our portion,<br> + Brief sorrow, short-lived care:<br> +The Life that knows no ending,<br> + The tearless Life, is <i>there</i>:<br> +O happy retribution,<br> + Short toil, eternal rest!<br> +For mortals and for sinners<br> + A mansion with the Blest!<br> +That we should look, poor wanderers,<br> + To have our home on high!<br> +That worms should seek for dwellings<br> + Beyond the starry sky!<br> +And now we fight the battle,<br> + And then we wear the Crown<br> +Of full and everlasting<br> + And passionless renown:<br> +Then glory, yet unheard of,<br> + Shall shed abroad its ray;<br> +Resolving all enigmas,<br> + An endless Sabbath-day.<br> +Then, then, from his oppressors<br> + The Hebrew shall go free,<br> +And celebrate in triumph<br> + The year of Jubilee:<br> +And the sun-lit land that recks not<br> + Of tempest or of fight<br> +Shall fold within its bosom<br> + Each happy Israelite.<br> +'Midst power that knows no limit,<br> + And wisdom free from bound,<br> +The Beatific Vision<br> + Shall glad the Saints around;<br> +And peace, for war is needless,<br> + And rest, for storm is past,<br> +And goal from finished labor,<br> + And anchorage at last.<br> +There God, my King and Portion,<br> + In fullness of His Grace,<br> +Shall we behold forever,<br> + And worship face to face;<br> +There Jacob into Israel,<br> + From earthlier self estranged,<br> +And Leah into Rachel<br> + Forever shall be changed;<br> +There all the halls of Syon<br> + For aye shall be complete:<br> +And in the land of Beauty<br> + All things of beauty meet.<br> +To thee, O dear, dear country!<br> + Mine eyes their vigils keep;<br> +For very love, beholding<br> + Thy happy name, they weep:<br> +The mention of Thy glory<br> + Is unction to the breast,<br> +And medicine in sickness,<br> + And love, and life, and rest.<br> +O one, O onely mansion!<br> + O Paradise of joy!<br> +Where tears are ever banished,<br> + And smiles have no alloy:<br> +Beside thy living waters<br> + All plants are, great and small;<br> +The cedar of the forest,<br> + The hyssop of the wall;<br> +With jaspers glow thy bulwarks,<br> + Thy streets with emeralds blaze;<br> +The sardius and the topaz<br> + Unite in thee their rays;<br> +Thine ageless walls are bonded<br> + With amethyst unpriced;<br> +Thy saints build up its fabric,<br> + And the Corner-stone is CHRIST.<br> +Thou hast no shore, fair Ocean!<br> + Thou hast no time, bright Day!<br> +Dear fountain of refreshment<br> + To pilgrims far away!<br> +Upon the Rock of Ages<br> + They raise thy holy Tower.<br> +Thine is the Victor's laurel,<br> + And thine the golden dower.<br> +Thou feel'st in mystic rapture,<br> + O Bride that know'st no guile,<br> +The Prince's sweetest kisses,<br> + The Prince's loveliest smile.<br> +Unfading lilies, bracelets<br> + Of living pearl, thine own;<br> +The Lamb is ever near thee,<br> + The Bridegroom thine alone;<br> +And all thine endless leisure<br> + In sweetest accents sings<br> +The ills that were thy merit,<br> + The joys that are thy King's.<br> +Jerusalem the golden!<br> + With milk and honey blest,<br> +Beneath thy contemplation<br> + Sink heart and voice opprest;<br> +I know not, oh, I know not<br> + What social joys are there,<br> +What radiancy of glory,<br> + What light beyond compare;<br> +And when I fain would sing them,<br> + My spirit fails and faints,<br> +And vainly would it image<br> + The assembly of the Saints.<br> +They stand, those halls of Syon,<br> + All jubilant with song,<br> +And bright with many an Angel,<br> + And many a Martyr throng;<br> +The Prince is ever in them,<br> + The light is aye serene;<br> +The Pastures of the Blessed<br> + Are decked in glorious sheen;<br> +There is the Throne of David,<br> + And there, from toil released,<br> +The shout of them that triumph,<br> + The song of them that feast;<br> +And they, beneath their Leader,<br> + Who conquered in the fight,<br> +For ever and for ever<br> + Are clad in robes of white.<br> +Jerusalem the glorious!<br> + The glory of the elect,<br> +O dear and future vision<br> + That eager hearts expect:<br> +Ev'n now by faith I see thee,<br> + Ev'n here thy walls discern;<br> +To thee my thoughts are kindled<br> + And strive and pant and yearn:<br> +Jerusalem the onely,<br> + That look'st from Heav'n below,<br> +In thee is all my glory,<br> + In me is all my woe:<br> +And though my body may not,<br> + My spirit seeks thee fain;<br> +Till flesh and earth return me<br> + To earth and flesh again.<br> +O Land that seest no sorrow!<br> + O State that fear'st no strife!<br> +O princely bowers! O Land of flowers!<br> + O realm and Home of Life!</blockquote> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BERNERS"></a> +<h2>JULIANA BERNERS</h2> +<h3>(Fifteenth Century)</h3> +<br> +<p class="par"><img src="images/letter-a.png" width="30%" alt= +""></p> +<p>bout the year 1475 one William Caxton, a prosperous English wool +merchant of good standing and repute, began printing books. The art +which he introduced into his native country was quickly taken up by +others; first, it seems, by certain monks at St. Albans, and +shortly afterward by Wynkyn de Worde, who had been an apprentice to +Caxton. In 1486 the press at St. Albans issued two books printed in +English, of which one was entitled 'The Boke of St. Albans.' Of +this volume only three perfect copies are known to exist. It is a +compilation of treatises on hawking, on hunting, and on heraldry, +and contained but little evidence as to their authorship. Ten years +later Wynkyn de Worde reprinted the work with additions, under the +following elaborate title, in the fashion of the time:--'Treatyse +perteynynge to Hawkynge, Huntynge, and Fysshynge with an Angle; +also a right noble Treatyse on the Lynage of Coote Armeris; ending +with a Treatyse which specyfyeth of Blasyng of Armys.'</p> +<p class="lft"><img src="images/image-412.png" width="45%" alt= +""><br> +<b>Juliana Berners.</b></p> +<p>The authorship of this volume, one of the earliest books printed +in the English language, has generally been ascribed to a certain +(or uncertain) Juliana Berners, Bernes, or Barnes, who lived in the +early part of the fifteenth century, and who is reputed to have +been prioress of the Nunnery of Sopwell,--long since in +ruins,--near St. Albans, and close to the little river Ver, which +still conceals in its quiet pools the speckled trout. If this +attribution be correct, Dame Berners was the first woman to write a +book in English. Although the question of the authorship is by no +means settled, yet it is clear that the printer believed the +treatise on hunting to have been written by this lady, and the +critics now generally assign a portion at least of the volume to +her. In the sixteenth century the book became very popular, and was +reprinted many times.</p> +<p>Of the several treatises it contains, that on fishing has the +greatest interest, an interest increased by the fact that it +probably suggested 'The Compleat Angler' of Izaak Walton, which +appeared one hundred and sixty years later.</p> +<br> +<a name="BERNERS_01"></a> +<center><b>HERE BEGYNNYTH</b></center> +<br> +<center>THE TREATYSE OF FYSSHYNGE WYTH AN ANGLE</center> +<br> +<p>Salomon in his parablys sayth that a glad spyryte makyth a +flourynge aege, that is a fayre aege and a longe. And syth it is +soo: I aske this questyon, whiche ben the meanes and the causes +that enduce a man in to a mery spyryte: Truly to my beste dyscrecon +it seemeth good dysportes and honest gamys in whom a man Joyeth +without any repentaunce after.</p> +<p>Thenne folowyth it yt gode dysportes and honest games ben cause +of mannys fayr aege and longe life. And therefore now woll I chose +of foure good disportes and honest gamys, that is to wyte: of +huntynge: hawkynge: fysshynge: and foulynge. The best to my symple +dyscrecon whyche is fysshynge: called Anglynge wyth a rodde: and a +lyne and an hoke. And thereof to treate as my symple wytte may +suffyce: both for the said reason of Salomon and also for the +reason that phisyk makyth in this wyse. <i>Si tibi deficiant medici +tibi fiant: hec tria mens leta labor et moderata dieta</i>. Ye +shall vnderstonde that this is for to saye, Yf a man lacke leche or +medicyne he shall make thre thynges his leche and medicyne: and he +shall nede neuer no moo. The fyrste of theym is a mery thought. The +seconde is labour not outrageo. The thyrd is dyete +mesurable....</p> +<p>Here folowyth the order made to all those whiche shall haue the +vnderstondynge of this forsayd treatyse & vse it for theyr +pleasures.</p> +<p>Ye that can angle & take fysshe to your pleasures as this +forsayd treatyse techyth & shewyth you: I charge & requyre +you in the name of alle noble men that ye fysshe not in noo poore +mannes seuerall water: as his ponde: stewe: or other necessary +thynges to kepe fysshe in wythout his lycence & good wyll. Nor +that ye vse not to breke noo mannys gynnys lyenge in theyr weares +& in other places dve vuto theym. Ne to take the fysshe awaye +that is taken in theym. For after a fysshe is taken in a mannys +gynne yf the gynne be layed in the comyn waters: or elles in suche +waters as he hireth, it is his owne propre goodes. And yf ye take +it awaye ye robbe hym: whyche is a ryght shamfull dede to ony noble +man to do yt that theuys & brybours done: whyche are punysshed +for theyr evyll dedes by the necke & other wyse whan they maye +be aspyed & taken. And also yf ye do in lyke manere as this +treatise shewyth you: ye shal haue no nede to take of other menys: +whiles ye shal haue ynough of your owne takyng yf ye lyste to +labour therfore. Whyche shall be to you a very pleasure to se the +fayr bryght shynynge scalyd fysshes dysceyved by your crafty meanes +& drawen vpon londe. Also that ye breke noo mannys heggys in +goynge abowte your dysportes: ne opyn noo mannes gates but that ye +shytte theym agayn. Also ye shall not vse this forsayd crafty +dysporte for no covety senes to thencreasynge & sparynge of +your money oonly, but pryncypally for your solace & to cause +the helthe of your body, and specyally of your soule. For whanne ye +purpoos to goo on your disportes in fysshyng ye woll not desyre +gretly many persones wyth you, whiche myghte lette you of your +game. And thenne ye maye serue God deuowtly in sayenge affectuously +youre custumable prayer. And thus doynge ye shall eschewe & +voyde many vices, as ydylnes whyche is pryncypall cause to enduce +man to many other vyces, as it is ryght well knowen.</p> +<p>Also ye shall not be to rauenous in takyng of your sayd game as +to moche at one tyme: whyche ye maye lyghtly doo, yf ye doo in +euery poynt as this present treatyse shewyth you in euery poynt, +whyche lyghtly be occasyon to dystroye your owne dysportes & +other mennys also. As whan ye haue a suffycyent mese ye sholde +coveyte nomore as at that tyme. Also ye shall besye yourselfe to +nouryssh the game in all that ye maye: & to dystroye all such +thynges as ben devourers of it. And all those that done after this +rule shall haue the blessynge of god & saynt Petyr, whyche be +theym graunte that wyth his precyous blood vs boughte.</p> +<p>And for by cause that this present treatyse sholde not come to +the hondys of eche ydle persone whyche wolde desire it yf it were +enpryntyd allone by itself & put in a lytyll plaunflet therfore +I have compylyd it in a greter volume of dyverse bokys concernynge +to gentyll & noble men to the entent that the forsayd ydle +persones whyche sholde have but lytyll mesure in the sayd dysporte +of fyshyng sholde not by this meane utterly dystroye it.</p> +<p>EMPRYNTED AT WESTMESTRE BY WYNKYN THE WORDE THE YERE +THYN-CARNACON OF OUR LORD M.CCCC.LXXXXVI.</p> +<p>Reprinted by Thomas White, Crane Court</p> +<p>MDCCCXXVII.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BESANT"></a> +<h2>WALTER BESANT</h2> +<h3>(1838-)</h3> +<br> +<p class="par"><img src="images/letter-w.png" width="30%" alt= +""></p> +<p>alter Besant, born in Portsmouth, England, in 1838, did not +begin his career as a novelist till he was thirty years old. His +preparation for the works that possess so certain a maturity of +execution, with as certain an ideal of performance, was made at +King's College, London, and afterwards at Christ's College, +Cambridge, where he took mathematical honors. Abandoning his idea +of entering the Church, he taught for seven years in the Royal +College of Mauritius. Ill health compelled his return to England, +and he then took up literature as a profession. His first novel he +had the courage to burn when the first publisher to whom he showed +it refused it.</p> +<p class="rgt"><img src="images/image-415.png" width="45%" alt= +""><br> +<b>Walter Besant.</b></p> +<p>But the succeeding years brought forth 'Studies in Early French +Poetry,' a delicate and scholarly series of essays; an edition of +Rabelais, of whom he is the biographer and disciple, and, with +Professor Palmer, a 'History of Jerusalem,' a work for which he had +equipped himself when secretary of the Palestine Exploration +Fund.</p> +<p>Mr. Besant was also a student in another special field. He knew +his Dickens as no other undergraduate in the University knew that +branch of polite literature, and passed an examination on the +'Pickwick Papers' which the author declared that he himself would +have failed in. By these processes Mr. Besant fitted himself +mentally and socially for the task of story-telling. The relations +of a man of letters to the rest of the world are comprehensively +revealed in the long list of his novels.</p> +<p>From the beginning he was one who comes with a tale "which +holdeth children from play and old men from the chimney corner"; +nor is the charm lessened by the sense of a living and kindly voice +addressing the hearer. His novels are easy reading, and do not +contain an obscure sentence. As art is an expression of the +artist's mind, and not a rigid ecclesiastical canon, it may be +expressed in as many formulas as there are artists. Therefore, +while to few readers life casts the rosy reflection that we have +learned to call Besantine, one would not wish it to disappear nor +to be discredited.</p> +<p>It was in the year 1869 that Walter Besant, by a happy chance, +made the acquaintance of James Rice, the editor of Once a Week, and +became a contributor to that magazine. In 1871 that literary +partnership between them began, which is interesting in the history +of collaboration. Mr. Rice had been a barrister, and added legal +lore to Mr. Besant's varied and accurate literary equipment. The +brilliant series of novels that followed includes 'Ready-Money +Morti-boy,' 'My Little Girl,' 'With Harp and Crown,' 'The Golden +Butterfly,' 'The Seamy Side,' and 'The Chaplain of the Fleet.' The +latter story, that of an innocent young country girl left to the +guardianship of her uncle, chaplain of the Fleet prison, by the +death of her father, is delicately and surprisingly original. The +influence of Dickens is felt in the structure of the story, and the +faithful, almost photographic fidelity to locality betrays in whose +footsteps the authors have followed; but the chaplain, though he +belongs to a family whose features are familiar to the readers of +'Little Dorrit' and 'Great Expectations,' has not existed until he +appears in these pages,--pompous, clever, and without principle, +but not lacking in natural affection. The young girl whose +guileless belief in everybody forces the worst people to assume the +characters her purity and innocence endows them with, is to the +foul prison what Picciola was to Charney. Nor will the moralist +find fault with the author whose kind heart teaches him to include +misfortune in his catalogue of virtues.</p> +<p>Mr. Rice died in 1882, and 'All Sorts and Conditions of Men,' +Mr. Besant's first independent novel, appeared the same year. It is +a novel with a purpose, and accomplished its purpose because an +artist's hand was necessary to paint the picture of East London +that met with such a response as the People's Palace. The appeal to +philanthropy was a new one. It was a plea for a little more of the +pleasures and graces of life for the two million of people who +inhabit the east end of the great city. It is not a picture of life +in the lowest phases, where the scenes are as dramatic as in the +highest social world, but a story of human life; the nobility, the +meanness, the pathos of it in hopelessly commonplace surroundings, +where the fight is not a hand-to-hand struggle with bitter poverty +or crime, but with dullness and monotony. The characters in 'All +Sorts and Conditions of Men' are possibly more typical than real, +but one hesitates to question either characters or situation. The +"impossible story" has become true, and the vision that the +enthusiastic young hero and heroine dream has materialized into a +lovely reality.</p> +<p>'The Children of Gibeon' (1884) and 'The World Went Very Well +Then' (1885) are written with the same philanthropic purpose; but +if Sir Walter Besant were not first of all a story-teller, the +possessor of a living voice that holds one spellbound till he has +finished his tale, the reader would be more sensible of the wide +knowledge of the novelist, and his familiarity with life in its +varied forms.</p> +<p>Here are about thirty novels, displaying an intimate knowledge +of many crafts, trades, and professions, the ways of landsman and +voyager, of country and town, of the new world and the old, of +modern charlatanism as shown in 'Herr Paulus,' of the "woman +question" among London Jews as in the 'Rebel Queen,' and the +suggestion of the repose and sufficiency of life's simple needs as +told in 'Call Her Mine' and 'Celia's Arbor.'</p> +<p>In the 'Ivory Gate' the hero is the victim of a remarkable +hallucination; in the story of 'The Inner House' the plummet of +suggestion plunges into depths not sounded before, and the soul's +regeneration is unfolded in the loveliest of parables.</p> +<p>The range of Sir Walter Besant reaches from the somewhat +conventionalized 'Dorothy Forster' to 'St. Katharine's Tower,' +where deep tragedy approaches the melodramatic, or from the +fascination of 'The Master Craftsman' to the 'Wapping Idyll' of the +heaps of miser's treasure. There is largeness of stroke in this +list, and a wide prospect. His humor is of the cheerful outdoor +kind, and the laugh is at foibles rather than weakness. He pays +little attention to fashion in literature, except to give a +good-natured nod to a passing fad.</p> +<p>It would be difficult to classify him under any school. His +stories are not analytical, nor is one conscious of that +painstaking fidelity to art which is no longer classed among the +minor virtues. When he fights, it is with wrong and oppression and +the cheerless monotony of the lives of the poor; but he fights +classes rather than individuals, although certain characters like +Fielding the plagiarist, in 'Armorel of Lyonesse,' are studied from +life. The village of bankrupts in 'All in a Garden Fair' is a +whimsical conceit, like the disguise of Angela in 'All Sorts and +Conditions of Men,' and the double identity of Edmund Gray in 'The +Ivory Gate.' In reading Besant we are constantly reminded that +humanity is wider than the world; and though its simplest facts are +its greatest, there is both interest and edification in +eccentricities.</p> +<p>In 1895 he was made a baronet, and is president of the Society +of Authors, of whom he has been a gallant champion against the +publishers.</p> +<br> +<a name="BESANT_01"></a> +<center><b>OLD-TIME LONDON</b></center> +<br> +<center>From Sir Walter Besant's 'London': Harper and +Brothers</center> +<br> +<p>The London house, either in Saxon or Norman time, presented no +kind of resemblance to the Roman villa. It had no cloisters, no +hypocaust, no suite or sequence of rooms. This unlikeness is +another proof, if any were wanting, that the continuity of tenure +had been wholly broken. If the Saxons went into London, as has been +suggested, peaceably, and left the people to carry on their old +life and their trade in their own way, the Roman and British +architecture--no new thing, but a style grown up in course of years +and found fitted to the climate--would certainly have remained. +That, however, was not the case. The Englishman developed his house +from the patriarchal idea.</p> +<p>First, there was the common hall; in this the household lived, +fed, transacted business, and made their cheer in the evenings. It +was built of timber, and to keep out the cold draughts it was +afterwards lined with tapestry. At first they used simple cloths, +which in great houses were embroidered and painted; <i>perches</i> +of various kinds were affixed to the walls, whereon the weapons, +the musical instruments, the cloaks, etc., were hung up. The lord +and lady sat on a high seat; not, I am inclined to think, on a dais +at the end of the hall, which would have been cold for them, but on +a great chair near the fire, which was burning in the middle of the +hall. This fashion long continued. I have myself seen a college +hall warmed by a fire in a brazier burning under the lantern of the +hall. The furniture consisted of benches; the table was laid on +trestles, spread with a white cloth, and removed after dinner; the +hall was open to all who came, on condition that the guest should +leave his weapons at the door.</p> +<p>The floor was covered with reeds, which made a clean, soft, and +warm carpet, on which the company could, if they pleased, lie round +the fire. They had carpets or rugs also, but reeds were commonly +used. The traveler who chances to find himself at the ancient and +most interesting town of Kingston-on-Hull, which very few English +people, and still fewer Americans, have the curiosity to explore, +should visit the Trinity House. There, among many interesting +things, he will find a hall where reeds are still spread, but no +longer so thickly as to form a complete carpet. I believe this to +be the last survival of the reed carpet.</p> +<p>The times of meals were: the breakfast at about nine; the +"noon-meat," or dinner, at twelve; and the "even-meat," or supper, +probably at a movable time, depending on the length of the day. +When lighting was costly and candles were scarce, the hours of +sleep would be naturally longer in winter than in the summer.</p> +<p>In their manner of living the Saxons were fond of vegetables, +especially of the leek, onion, and garlic. Beans they also had +(these were introduced probably at the time when they commenced +intercourse with the outer world), pease, radishes, turnips, +parsley, mint, sage, cress, rue, and other herbs. They had nearly +all our modern fruits, though many show by their names, which are +Latin or Norman, a later introduction. They made use of butter, +honey, and cheese. They drank ale and mead. The latter is still +made, but in small quantities, in Somerset and Hereford shires. The +Normans brought over the custom of drinking wine.</p> +<p>In the earliest times the whole family slept in the common hall. +The first improvement was the erection of the solar, or upper +chamber. This was above the hall, or a portion of it, or over the +kitchen and buttery attached to the hall. The arrangement may be +still observed in many of the old colleges of Oxford or Cambridge. +The solar was first the sleeping-room of the lord and lady; though +afterward it served not only this purpose, but also for an +ante-chamber to the dormitory of the daughters and the +maid-servants. The men of the household still slept in the hall +below. Later on, bed recesses were contrived in the wall, as one +may find in Northumberland at the present day. The bed was +commonly, but not for the ladies of the house, merely a big bag +stuffed with straw. A sheet wrapped round the body formed the only +night-dress. But there were also pillows, blankets, and coverlets. +The early English bed was quite as luxurious as any that followed +after, until the invention of the spring mattress gave a new and +hitherto unhoped-for joy to the hours of night.</p> +<p>The second step in advance was the ladies' bower, a room or +suite of rooms set apart for the ladies of the house and their +women. For the first time, as soon as this room was added, the +women could follow their own vocations of embroidery, spinning, and +needlework of all kinds, apart from the rough and noisy talk of the +men.</p> +<p>The main features, therefore, of every great house, whether in +town or country, from the seventh to the twelfth century, were the +hall, the solar built over the kitchen and buttery, and the ladies' +bower.</p> +<p>There was also the garden. In all times the English have been +fond of gardens. Bacon thought it not beneath his dignity to order +the arrangement of a garden. Long before Bacon, a writer of the +twelfth century describes a garden as it should be. "It should be +adorned on this side with roses, lilies, and the marigold; on that +side with parsley, cost, fennel, southernwood, coriander, sage, +savery, hyssop, mint, vine, dettany, pellitory, lettuce, cresses, +and the peony. Let there be beds enriched with onions, leeks, +garlic, melons, and scallions. The garden is also enriched by the +cucumber, the soporiferous poppy, and the daffodil, and the +acanthus. Nor let pot herbs be wanting, as beet-root, sorrel, and +mallow. It is useful also to the gardener to have anise, mustard, +and wormwood.... A noble garden will give you medlars, quinces, the +pear main, peaches, pears of St. Regle, pomegranates, citrons, +oranges, almonds, dates, and figs." The latter fruits were perhaps +attempted, but one doubts their arriving at ripeness. Perhaps the +writer sets down what he hoped would be some day achieved.</p> +<p>The indoor amusements of the time were very much like our own. +We have a little music in the evening; so did our forefathers. We +sometimes have a little dancing; so did they, but the dancing was +done for them. We go to the theatres to see the mime; in their days +the mime made his theatre in the great man's hall. He played the +fiddle and the harp; he sang songs, he brought his daughter, who +walked on her hands and executed astonishing capers; the gleeman, +minstrel, or jongleur was already as disreputable as when we find +him later on with his <i>ribauderie</i>. Again, we play chess; so +did our ancestors. We gamble with dice; so did they. We feast and +drink together; so did they. We pass the time in talk; so did they. +In a word, as Alphonse Karr put it, the more we change, the more we +remain the same.</p> +<p>Out-of-doors, as Fitz-Stephen shows, the young men skated, +wrestled, played ball, practiced archery, held water tournaments, +baited bull and bear, fought cocks, and rode races. They were also +mustered sometimes for service in the field, and went forth +cheerfully, being specially upheld by the reassuring consciousness +that London was always on the winning side.</p> +<p>The growth of the city government belongs to the history of +London. Suffice it here to say that the people in all times enjoyed +a freedom far above that possessed by any other city of Europe. The +history of municipal London is a history of continual struggle to +maintain this freedom against all attacks, and to extend it and to +make it impregnable. Already the people are proud, turbulent, and +confident in their own strength. They refuse to own any other lord +but the king himself; there is no Earl of London. They freely hold +their free and open meetings, their folk-motes,--in the open space +outside the northwest corner of St. Paul's Churchyard. That they +lived roughly, enduring cold, sleeping in small houses in narrow +courts; that they suffered much from the long darkness of winter; +that they were always in danger of fevers, agues, "putrid" throats, +plagues, fires by night, and civil wars; that they were ignorant of +letters,--three schools only for the whole of London,--all this may +very well be understood. But these things do not make men and women +wretched. They were not always suffering from preventable disease; +they were not always hauling their goods out of the flames; they +were not always fighting. The first and most simple elements of +human happiness are three; to wit, that a man should be in bodily +health, that he should be free, that he should enjoy the produce of +his own labor. All these things the Londoner possessed under the +Norman kings nearly as much as in these days they can be possessed. +His city has always been one of the healthiest in the world; +whatever freedom could be attained he enjoyed; and in that rich +trading town all men who worked lived in plenty.</p> +<p>The households, the way of living, the occupations of the women, +can be clearly made out in every detail from the Anglo-Saxon +literature. The women in the country made the garments, carded the +wool, sheared the sheep, washed the things, beat the flax, ground +the corn, sat at the spinning-wheel, and prepared the food. In the +towns they had no shearing to do, but all the rest of their duty +fell to their province. The English women excelled in embroidery. +"English" work meant the best kind of work. They worked church +vestments with gold and pearls and precious stones. "Orfrey," or +embroidery in gold, was a special art. Of course they are accused +by the ecclesiastics of an overweening desire to wear finery; they +certainly curled their hair, and, one is sorry to read, they +painted, and thereby spoiled their pretty cheeks. If the man was +the hlaf-ord [lord],--the owner or winner of the loaf,--the wife +was the hlaf-dig [lady], its distributor; the servants and the +retainers were hlaf-oetas, or eaters of it. When nunneries began to +be founded, the Saxon ladies in great numbers forsook the world for +the cloister. And here they began to learn Latin, and became able +at least to carry on correspondence--specimens of which still +exist--in that language. Every nunnery possessed a school for +girls. They were taught to read and to write their own language and +Latin, perhaps also rhetoric and embroidery. As the pious Sisters +were fond of putting on violet chemises, tunics, and vests of +delicate tissue, embroidered with silver and gold, and scarlet +shoes, there was probably not much mortification of the flesh in +the nunneries of the later Saxon times.</p> +<p>This for the better class. We cannot suppose that the daughters +of the craftsmen became scholars of the nunnery. Theirs were the +lower walks--to spin the linen and to make the bread and carry on +the housework.</p> +<br> +<a name="BESANT_02"></a> +<center><b>THE SYNAGOGUE</b></center> +<br> +<center>From 'The Rebel Queen': Harper and Brothers</center> +<br> +<blockquote>"D'un jour intérieur je me sens +éclairé,<br> +Et j'entends une voix qui me dit +d'espérer."--LAMARTINE.</blockquote> +<br> +<p>"Are you ready, Francesca?"</p> +<p>Nelly ran lightly down the narrow stairs, dressed for Sabbath +and Synagogue. She was dainty and pretty at all times in the matter +of dress, but especially on a summer day, which affords opportunity +for bright color and bright drapery and an ethereal appearance. +This morning she was full of color and light. When, however, she +found herself confronted with Francesca's simple gray dress, so +closely fitting, so faultless, and her black-lace hat with its +single rose for color, Nelly's artistic sense caused her heart to +sink like lead. It is not for nothing that one learns and teaches +the banjo; one Art leads to another; she who knows music can feel +for dress. "Oh!" she cried, clasping her hands. "That's what we can +never do!"</p> +<p>"What?"</p> +<p>"That fit! Look at me! Yet they call me clever. Clara gives me +the new fashions and I copy them, and the girls in our street copy +me--poor things!--and the dressmaker comes to talk things over and +to learn from me. I make everything for myself. And they call me +clever! But I can't get near it; and if I can't nobody can."...</p> +<p>A large detached structure of red brick stood east and west, +with a flat façade and round windows that bore out the truth +of the date--1700--carved upon the front. A word or two in that +square character--that tongue which presents so few attractions to +most of us compared with other tongues--probably corroborated the +internal evidence of the façade and the windows.</p> +<p>"This is the synagogue," said Nelly. She entered, and turning to +the right, led the way up-stairs to a gallery running along the +whole side of the building. On the other side was another gallery. +In front of both was a tolerably wide grill, through which the +congregation below could be seen perfectly.</p> +<p>"This is the women's gallery," whispered Nell--there were not +many women present. "We'll sit in the front. Presently they will +sing. They sing beautifully. Now they're reading prayers and the +Law. They've got to read the whole Law through once a week, you +know." Francesca looked curiously through the grill. When one is in +a perfectly strange place, the first observations made are of small +and unimportant things. She observed that there was a circular +inclosure at the east end, as if for an altar; but there was no +altar: two doors indicated a cupboard in the wall. There were six +tall wax-lights burning round the inclosure, although the morning +was fine and bright. At the west end a high screen kept the +congregation from the disturbance of those who entered or went out. +Within the screen was a company of men and boys, all with their +hats and caps on their heads; they looked like the choir. In front +of the choir was a platform railed round. Three chairs were placed +at the back of the platform. There was a table covered with red +velvet, on which lay the book of the Law, a ponderous roll of +parchment provided with silver staves or handles. Before this desk +or table stood the Reader. He was a tall and handsome man, with +black hair and full black beard, about forty years of age. He wore +a gown and large Geneva bands, like a Presbyterian minister; on his +head he had a kind of biretta. Four tall wax candles were placed +round the front of the platform. The chairs were occupied by two or +three elders. A younger man stood at the desk beside the Reader. +The service was already begun--it was, in fact, half over.</p> +<p>Francesca observed next that all the men wore a kind of broad +scarf, made of some white stuff about eight feet long and four feet +broad. Bands of black or blue were worked in the ends, which were +also provided with fringes. "It is the Talleth," Nelly whispered. +Even the boys wore this white robe, the effect of which would have +been very good but for the modern hat, tall or pot, which spoiled +all. Such a robe wants a turban above it, not an English hat. The +seats were ranged along the synagogue east and west. The place was +not full, but there were a good many worshipers. The service was +chanted by the Reader. It was a kind of chant quite new and strange +to Francesca. Like many young persons brought up with no other +religion than they can pick up for themselves, she was curious and +somewhat learned in the matter of ecclesiastical music and ritual, +which she approached, owing to her education, with unbiased mind. +She knew masses and anthems and hymns and chants of all kinds; +never had she heard anything of this kind before. It was not +congregational, or Gregorian; nor was it repeated by the choir from +side to side; nor was it a monotone with a drop at the end; nor was +it a florid, tuneful chant such as one may hear in some Anglican +services. This Reader, with a rich, strong voice, a baritone of +great power, took nearly the whole of the service--it must have +been extremely fatiguing--upon himself, chanting it from beginning +to end. No doubt, as he rendered the reading and the prayers, so +they had been given by his ancestors in Spain and Portugal +generation after generation, back into the times when they came +over in Phoenician ships to the Carthaginian colonies, even before +the dispersion of the Ten Tribes. It was a traditional chant of +antiquity beyond record--not a monotonous chant. Francesca knew +nothing of the words; she grew tired of trying to make out +whereabouts on the page the Reader might be in the book lent her, +which had Hebrew on one side and English on the other. Besides, the +man attracted her--by his voice, by his energy, by his appearance. +She closed her book and surrendered herself to the influence of the +voice and the emotions which it expressed.</p> +<p>There was no music to help him. From time to time the men in the +congregation lifted up their voices--not seemingly in response, but +as if moved to sudden passion and crying out with one accord. This +helped him a little, otherwise he was without any assistance.</p> +<p>A great Voice. The man sometimes leaned over the Roll of the +Law, sometimes he stood upright, always his great Voice went up and +down and rolled along the roof and echoed along the benches of the +women's gallery. Now the Voice sounded a note of rejoicing; now, +but less often, a note of sadness; now it was a sharp and sudden +cry of triumph. Then the people shouted with him--it was as if they +clashed sword on shield and yelled for victory; now it was a note +of defiance, as when men go forth to fight an enemy; now it sank to +a murmur, as of one who consoles and soothes and promises things to +come; now it was a note of rapture, as if the Promised Land was +already recovered.</p> +<p>Was all that in the Voice? Did the congregation, all sitting +wrapped in their white robes, feel these emotions as the Voice +thundered and rolled? I know not. Such was the effect produced upon +one who heard this Voice for the first time. At first it seemed +loud, even barbaric; there was lacking something which the listener +and stranger had learned to associate with worship. What was it? +Reverence? But she presently found reverence In plenty, only of a +kind that differed from that of Christian worship. Then the +listener made another discovery. In this ancient service she missed +the note of humiliation. There was no Litany at a Faldstool. There +was no kneeling in abasement; there was no appearance of penitence, +sorrow, or the confession of sins. The Voice was as the Voice of a +Captain exhorting his soldiers to fight. The service was warlike, +the service of a people whose trust in their God is so great that +they do not need to call perpetually upon Him for the help and +forgiveness of which they are assured. Yes, yes--she thought--this +is the service of a race of warriors; they are fighting men: the +Lord is their God; He is leading them to battle: as for little +sins, and backslidings, and penitences, they belong to the Day of +Atonement--which comes once a year. For all the other days in the +year, battle and victory occupy all the mind. The service of a +great fighting people; a service full of joy, full of faith, full +of assurance, full of hope and confidence--such assurance as few +Christians can understand, and of faith to which few Christians can +attain. Perhaps Francesca was wrong; but these were her first +impressions, and these are mostly true.</p> +<p>In the body of the synagogue men came late. Under one gallery +was a school of boys, in the charge of a graybeard, who, book in +hand, followed the service with one eye, while he admonished +perpetually the boys to keep still and to listen. The boys grew +restless; it was tedious to them--the Voice which expressed so much +to the stranger who knew no Hebrew at all was tedious to the +children; they were allowed to get up and run into the court +outside and then to come back again; nobody heeded their going in +and out. One little boy of three, wrapped, like the rest, in a +white Talleth, ran up and down the side aisle without being +heeded--even by the splendid Beadle with the gold-laced hat, which +looked so truly wonderful above the Oriental Talleth. The boys in +the choir got up and went in and out just as they pleased. Nobody +minded. The congregation, mostly well-to-do men with silk hats, sat +in their places, book in hand, and paid no attention.</p> +<p>Under the opposite gallery sat two or three rows of worshipers, +who reminded Francesca of Browning's poem of St. John's Day at +Rome. For they nudged and jostled each other; they whispered +things; they even laughed over the things they whispered. But they +were clad like those in the open part in the Talleth, and they sat +book in hand, and from time to time they raised their voices with +the congregation. They showed no reverence except that they did not +talk or laugh loudly. They were like the children, their +neighbors,--just as restless, just as uninterested, just as +perfunctory. Well, they were clearly the poorer and the more +ignorant part of the community. They came here and sat through the +service because they were ordered so to do; because, like Passover, +and the Feast of Tabernacles, and the Fast of Atonement, it was the +Law of their People.</p> +<p>The women in the gallery sat or stood. They neither knelt nor +sang aloud; they only sat when it was proper to sit, or stood when +it was proper to stand. They were like the women, the village +women, in a Spanish or Italian church, for whom everything is done. +Francesca, for the moment, felt humiliated that she should be +compelled to sit apart from the congregation, railed off in the +women's gallery, to have her religion done for her, without a voice +of her own in it at all. So, I have heard, indignation sometimes +fills the bosom of certain ladies when they reflect upon the fact +that they are excluded from the choir, and forbidden even to play +the organ in their own parish church.</p> +<p>The chanting ceased; the Reader sat down. Then the Choir began. +They sang a hymn--a Hebrew hymn--the rhythm and metre were not +English; the music was like nothing that can be heard in a +Christian Church. "It is the music," said Nelly, "to which the +Israelites crossed the Red Sea:" a bold statement, but--why not? If +the music is not of Western origin and character, who can disprove +such an assertion? After the hymn the prayers and reading went on +again.</p> +<p>There came at last--it is a long service, such as we poor +weak-kneed Anglicans could not endure--the end. There was a great +bustle and ceremony on the platform; they rolled up the Roll of the +Law; they wrapped it in a purple velvet cloth; they hung over it a +silver breastplate set with twelve jewels for the Twelve Tribes--in +memory of the Urim and Thummim. Francesca saw that the upper ends +of the staves were adorned with silver pomegranates and with silver +bells, and they placed it in the arms of one of those who had been +reading the law; then a procession was formed, and they walked, +while the Choir sang one of the Psalms of David--but not in the +least like the same Psalm sung in an English Cathedral--bearing the +Roll of the Law to the Ark, that is to say, to the cupboard, behind +the railing and inclosure at the east end.</p> +<p>The Reader came back. Then with another chanted Prayer--it +sounded like a prolonged shout of continued Triumph--he ended his +part of the service.</p> +<p>And then the choir sang the last hymn--a lovely hymn, not in the +least like a Christian, or at least an English hymn--a psalm that +breathed a tranquil hope and a perfect faith. One needed no words +to understand the full meaning and beauty and depth of that +hymn.</p> +<p>The service was finished. The men took off their white scarfs +and folded them up. They stood and talked in groups for a few +minutes, gradually melting away. As for the men under the gallery, +who had been whispering and laughing, they trooped out of the +synagogue all together. Evidently, to them the service was only a +form. What is it, in any religion, but a form, to the baser +sort?</p> +<p>The Beadle put out the lights. Nelly led the way down the +stairs. Thinking of what the service had suggested to herself--- +all those wonderful things above enumerated--Francesca wondered +what it meant to a girl who heard it every Sabbath morning. But she +refrained from asking. Custom too often takes the symbolism out of +the symbols and the poetry out of the verse. Then the people begin +to worship the symbols and make a fetich of the words. We have seen +this elsewhere--in other forms of faith. Outside they found +Emanuel. They had not seen him in the congregation, probably +because it is difficult to recognize a man merely by the top of his +hat.</p> +<p>"Come," he said, "let us look around the place. Afterwards, +perhaps, we will talk of our Service. This synagogue is built on +the site of the one erected by Manasseh and his friends when Oliver +Cromwell permitted them to return to London after four hundred +years of exile. They were forced to wear yellow hats at first, but +that ordinance soon fell into disuse, like many other abominable +laws. When you read about mediaeval laws, Francesca, remember that +when they were cruel or stupid they were seldom carried into +effect, because the arm of the executive was weak. Who was there to +oblige the Jews to wear the yellow hat? The police? There were no +police. The people? What did the people care about the yellow hat? +When the Fire burned down London, sparing not even the great +Cathedral, to say nothing of the Synagogue, this second Temple +arose, equal in splendor to the first. At that time all the Jews in +London were Sephardim of Spain and Portugal and Italy. Even now +there are many of the people here who speak nothing among +themselves but Spanish, just as there are Askenazim who speak +nothing among themselves but Yiddish. Come with me; I will show you +something that will please you."</p> +<p>He led the way into another flagged court, larger than the +first. There were stone staircases, mysterious doorways, paved +passages, a suggestion of a cloister, an open space or square, and +buildings on all sides with windows opening upon the court.</p> +<p>"It doesn't look English at all," said Francesca. "I have seen +something like it in a Spanish convent. With balconies and a few +bright hangings and a black-haired woman at the open windows, and +perhaps a coat of arms carved upon the wall, it would do for part +of a Spanish street. It is a strange place to find in the heart of +London."</p> +<p>"You see the memory of the Peninsula. What were we saying +yesterday? Spain places her own seal upon everything that belongs +to her--people, buildings, all. What you see here is the central +Institute of our People, the Sephardim--the Spanish part of our +People. Here is our synagogue, here are schools, alms-houses, +residence of the Rabbi, and all sorts of things. You can come here +sometimes and think of Spain, where your ancestors lived. Many +generations in Spain have made you--as they have made me--a +Spaniard."</p> +<p>They went back to the first court. On their way out, as they +passed the synagogue, there came running across the court a girl of +fifteen or so. She was bareheaded; a mass of thick black hair was +curled round her shapely head; her figure was that of an English +girl of twenty; her eyes showed black and large and bright as she +glanced at the group standing in the court; her skin was dark; she +was oddly and picturesquely dressed in a grayish-blue skirt, with a +bright crimson open jacket. The color seemed literally to strike +the eye. The girl disappeared under a doorway, leaving a picture of +herself in Francesca's mind--a picture to be remembered.</p> +<p>"A Spanish Jewess," said Emanuel. "An Oriental. She chooses by +instinct the colors that her great-grandmother might have worn to +grace the triumph of David the King."</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BESTIARIES"></a> +<h2>BESTIARIES AND LAPIDARIES</h2> +<h3>BY L. OSCAR KUHNS</h3> +<br> +<p class="par"><img src="images/letter-o.png" width="30%" alt= +""></p> +<p>ne of the marked features of literary investigation during the +present century is the interest which it has manifested in the +Middle Ages. Not only have specialists devoted themselves to the +detailed study of the Sagas of the North and the great cycles of +Romance in France and England, but the stories of the Edda, of the +Nibelungen, and of Charlemagne and King Arthur have become +popularized, so that to-day they are familiar to the general +reader. There is one class of literature, however, which was +widespread and popular during the Middle Ages, but which is to-day +known only to the student,--that is, the so-called Bestiaries and +Lapidaries, or collections of stories and superstitions concerning +the marvelous attributes of animals and of precious stones.</p> +<p>The basis of all Bestiaries is the Greek Physiologus, the origin +of which can be traced back to the second century before Christ. It +was undoubtedly largely influenced by the zoölogy of the +Bible; and in the references to the Ibex, the Phoenix, and the tree +Paradixion, traces of Oriental and old Greek superstitions can be +seen. It was from the Latin versions of the Greek original that +translations were made into nearly all European languages. There +are extant to-day, whole or in fragments, Bestiaries in German, Old +English, Old French, Provençal, Icelandic, Italian, +Bohemian, and even Armenian, Ethiopic, and Syriac. These various +versions differ more or less in the arrangement and number of the +animals described, but all point back to the same ultimate +source.</p> +<p>The main object of the Bestiaries was not so much to impart +scientific knowledge, as by means of symbols and allegories to +teach the doctrines and mysteries of the Church: At first this +symbolical application was short and concise, but later became more +and more expanded, until it often occupied more space than the +description of the animal which served as a text.</p> +<p>Some of these animals are entirely fabulous, such as the siren, +the phoenix, the unicorn; others are well known, but possess +certain fabulous attributes. The descriptions of them are not the +result of personal observation, but are derived from stories told +by travelers or read in books, or are merely due to the imagination +of the author; these stories, passing down from hand to hand, +gradually became accepted facts.</p> +<p>These books were enormously popular during the Middle Ages, a +fact which is proved by the large number of manuscripts still +extant. Their influence on literature was likewise very great. To +say nothing of the encyclopaedic works,--such as 'Li Tresors' of +Brunetto Latini, the 'Image du Monde,' the 'Roman de la +Rose,'--which contain extracts from the Bestiaries,--there are many +references to them in the great writers, even down to the present +day. There are certain passages in Dante, Chaucer, and Shakespeare, +that would be unintelligible without some knowledge of these +mediaeval books of zoölogy.</p> +<p>Hence, besides the interest inherent in these quaint and +childish stories, besides their value in revealing the scientific +spirit and attainments of the times, some knowledge of the +Bestiaries is of undoubted value and interest to the student of +literature.</p> +<p>Closely allied to the Bestiaries (and indeed often contained in +the same manuscript) are the Lapidaries, in which are discussed the +various kinds of precious stones, with their physical +characteristics,--shape, size, color, their use in medicine, and +their marvelous talismanic properties. In spite of the fact that +they contain the most absurd fables and superstitions, they were +actually used as text-books in the schools, and published in +medical treatises. The most famous of them was written in Latin by +Marbode, Bishop of Rennes (died in 1123), and translated many times +into Old French and other languages.</p> +<p>The following extracts from the Bestiaries are translated from +'Le Bestiaire' of Guillaume Le Clerc, composed in the year 1210 +(edited by Dr. Robert Reinsch, Leipzig, 1890). While endeavoring to +retain somewhat of the quaintness and naïveté of the +original, I have omitted those repetitions and tautological +expressions which are so characteristic of mediaeval literature. +The religious application of the various animals is usually very +long, and often is the mere repetition of the same idea. The +symbolical meaning of the lion here given may be taken as a type of +all the rest.</p> +<p class="sign"><img src="images/sign-431.png" width="60%" alt= +""></p> +<br> +<br> +<br> +<br> +<br> +<br> +<a name="BESTIARIES_01"></a> +<center><b>THE LION</b></center> +<br> +<p>It is proper that we should first speak of the nature of the +lion, which is a fierce and proud beast and very bold. It has three +especially peculiar characteristics. In the first place it always +dwells upon a high mountain. From afar off it can scent the hunter +who is pursuing it. And in order that the latter may not follow it +to its lair it covers over its tracks by means of its tail. Another +wonderful peculiarity of the lion is that when it sleeps its eyes +are wide open, and clear and bright. The third characteristic is +likewise very strange. For when the lioness brings forth her young, +it falls to the ground, and gives no sign of life until the third +day, when the lion breathes upon it and in this way brings it back +to life again.</p> +<p>The meaning of all this is very clear. When God, our Sovereign +father, who is the Spiritual lion, came for our salvation here upon +earth, so skillfully did he cover his tracks that never did the +hunter know that this was our Savior, and nature marveled how he +came among us. By the hunter you must understand him who made man +to go astray and seeks after him to devour him. This is the Devil, +who desires only evil.</p> +<p>When this lion was laid upon the Cross by the Jews, his enemies, +who judged him wrongfully, his human nature suffered death. When he +gave up the spirit from his body, he fell asleep upon the holy +cross. Then his divine nature awoke. This must you believe if you +wish to live again.</p> +<p>When God was placed in the tomb, he was there only three days, +and on the third day the Father breathed upon him and brought him +to life again, just as the lion did to its young.</p> +<br> +<a name="BESTIARIES_02"></a> +<center><b>THE PELICAN</b></center> +<br> +<p>The pelican is a wonderful bird which dwells in the region about +the river Nile. The written history<a name="FNanchor4"></a><a href= +"#Footnote_4">[4]</a> tells us that there are two kinds,--those +which dwell in the river and eat nothing but fish, and those which +dwell in the desert and eat only insects and worms. There is a +wonderful thing about the pelican, for never did mother-sheep love +her lamb as the pelican loves its young. When the young are born, +the parent bird devotes all his care and thought to nourishing +them. But the young birds are ungrateful, and when they have grown +strong and self-reliant they peck at their father's face, and he, +enraged at their wickedness, kills them all.</p> +<blockquote><a name="Footnote_4"></a><a href="#FNanchor4">[4]</a> +The reference here is probably to the 'Liber de Bestiis et Aliis +Rebus' of Hugo de St. Victor.</blockquote> +<p>On the third day the father comes to them, deeply moved with +pity and sorrow. With his beak he pierces his own side, until the +blood flows forth. With the blood he brings back life into the body +of his young<a name="FNanchor5"></a><a href= +"#Footnote_5">[5]</a>.</p> +<blockquote><a name="Footnote_5"></a><a href="#FNanchor5">[5]</a> +There are many allusions in literature to this story. Cf. +Shakespeare,-- +<blockquote>"Like the kind life-rendering pelican,<br> +Repast them with my blood."--'Hamlet,' iv. 5.</blockquote> +"Those pelican daughters."--Lear, iii. 4. Cf. also the beautiful +metaphor of Alfred de Musset, in his 'Nuit de Mai.'</blockquote> +<br> +<a name="BESTIARIES_03"></a> +<center><b>THE EAGLE</b></center> +<br> +<p>The eagle is the king of birds. When it is old it becomes young +again in a very strange manner. When its eyes are darkened and its +wings are heavy with age, it seeks out a fountain clear and pure, +where the water bubbles up and shines in the clear sunlight. Above +this fountain it rises high up into the air, and fixes its eyes +upon the light of the sun and gazes upon it until the heat thereof +sets on fire its eyes and wings. Then it descends down into the +fountain where the water is clearest and brightest, and plunges and +bathes three times, until it is fresh and renewed and healed of its +old age<a name="FNanchor6"></a><a href="#Footnote_6">[6]</a>.</p> +<blockquote><a name="Footnote_6"></a><a href="#FNanchor6">[6]</a> +"Bated like eagles having lately bathed."--'I Henry IV.,' iv. +I.</blockquote> +<p>The eagle has such keen vision, that if it is high up among the +clouds, soaring through the air, it sees the fish swimming beneath +it, in river or sea; then down it shoots upon the fish and seizes +and drags it to the shore. Again, if unknown to the eagle its eggs +should be changed and others put into its nest,--when the young are +grown, before they fly away, it carries them up into the air when +the sun is shining its brightest. Those which can look at the rays +of the sun, without blinking, it loves and holds dear; those which +cannot stand to look at the light, it abandons, as base-born, nor +troubles itself henceforth concerning them<a name= +"FNanchor7"></a><a href="#Footnote_7">[7]</a>.</p> +<blockquote><a name="Footnote_7"></a><a href="#FNanchor7">[7]</a> +<blockquote>"Nay, if thou be that princely eagle's bird,<br> +Show thy descent by gazing 'gainst the sun."--'3 Henry VI.,' ii. +I.</blockquote> +</blockquote> +<br> +<a name="BESTIARIES_04"></a> +<center><b>THE PHOENIX</b></center> +<br> +<p>There is a bird named the phoenix, which dwells in India and is +never found elsewhere. This bird is always alone and without +companion, for its like cannot be found, and there is no other bird +which resembles it in habits or appearance<a name= +"FNanchor8"></a><a href="#Footnote_8">[8]</a>. At the end of five +hundred years it feels that it has grown old, and loads itself with +many rare and precious spices, and flies from the desert away to +the city of Leopolis. There, by some sign or other, the coming of +the bird is announced to a priest of that city, who causes fagots +to be gathered and placed upon a beautiful altar, erected for the +bird. And so, as I have said, the bird, laden with spices, comes to +the altar, and smiting upon the hard stone with its beak, it causes +the flame to leap forth and set fire to the wood and the spices. +When the fire is burning brightly, the phoenix lays itself upon the +altar and is burned to dust and ashes.</p> +<blockquote><a name="Footnote_8"></a><a href="#FNanchor8">[8]</a> +"Were man as rare as phoenix."--'As You Like It,' iv. +3.</blockquote> +<p>Then comes the priest and finds the ashes piled up, and +separating them softly he finds within a little worm, which gives +forth an odor sweeter than that of roses or of any other flower. +The next day and the next the priest comes again, and on the third +day he finds that the worm has become a full-grown and full-fledged +bird, which bows low before him and flies away, glad and joyous, +nor returns again before five hundred years<a name= +"FNanchor9"></a><a href="#Footnote_9">[9]</a>.</p> +<blockquote><a name="Footnote_9"></a><a href="#FNanchor9">[9]</a> +<blockquote> + "But +as when<br> +The Bird of Wonder dies, the maiden phoenix,<br> +;Her ashes new create another heir."--'Henry VIII.,' v. +5.</blockquote> +</blockquote> +<br> +<a name="BESTIARIES_05"></a> +<center><b>THE ANT</b></center> +<br> +<p>There is another kind of ant up in Ethiopia, which is of the +shape and size of dogs. They have strange habits, for they scratch +into the ground and extract therefrom great quantities of fine +gold. If any one wishes to take this gold from them, he soon +repents of his undertaking; for the ants run upon him, and if they +catch him they devour him instantly. The people who live near them +know that they are fierce and savage, and that they possess a great +quantity of gold, and so they have invented a cunning trick. They +take mares which have unweaned foals, and give them no food for +three days. On the fourth the mares are saddled, and to the saddles +are fastened boxes that shine like gold. Between these people and +the ants flows a very swift river. The famished mares are driven +across this river, while the foals are kept on the hither side. On +the other side of the river the grass is rich and thick. Here the +mares graze, and the ants seeing the shining boxes think they have +found a good place to hide their gold, and so all day long they +fill and load the boxes with their precious gold, till night comes +on and the mares have eaten their fill. When they hear the neighing +of their foals they hasten to return to the other side of the +river. There their masters take the gold from the boxes and become +rich and powerful, but the ants grieve over their loss.</p> +<br> +<a name="BESTIARIES_06"></a> +<center><b>THE SIREN</b></center> +<br> +<p>The siren is a monster of strange fashion, for from the waist up +it is the most beautiful thing in the world, formed in the shape of +a woman. The rest of the body is like a fish or a bird. So sweetly +and beautifully does she sing that they who go sailing over the +sea, as soon as they hear the song, cannot keep from going towards +her. Entranced by the music, they fall asleep in their boat, and +are killed by the siren before they can utter a cry<a name= +"FNanchor10"></a><a href="#Footnote_10">[10]</a>.</p> +<blockquote><a name="Footnote_10"></a><a href= +"#FNanchor10">[10]</a> References to the siren are innumerable; the +most famous perhaps is Heine's 'Lorelei.' Cf. also Dante, +'Purgatorio,' xix. 19-20.</blockquote> +<br> +<a name="BESTIARIES_07"></a> +<center><b>THE WHALE</b></center> +<br> +<p>In the sea, which is mighty and vast, are many kinds of fish, +such as the turbot, the sturgeon, and the porpoise. But there is +one monster, very treacherous and dangerous. In Latin its name is +Cetus. It is a bad neighbor for sailors. The upper part of its back +looks like sand, and when it rises from the sea, the mariners think +it is an island. Deceived by its size they sail toward it for +refuge, when the storm comes upon them. They cast anchor, disembark +upon the back of the whale, cook their food, build a fire, and in +order to fasten their boat they drive great stakes into what seems +to them to be sand. When the monster feels the heat of the fire +which burns upon its back, it plunges down into the depths of the +sea, and drags the ship and all the people after it.</p> +<p>When the fish is hungry it opens its mouth very wide, and +breathes forth an exceedingly sweet odor. Then all the little fish +stream thither, and, allured by the sweet smell, crowd into its +throat. Then the whale closes its jaws and swallows them into its +stomach, which is as wide as a valley<a name= +"FNanchor11"></a><a href="#Footnote_11">[11]</a>.</p> +<blockquote><a name="Footnote_11"></a><a href= +"#FNanchor11">[11]</a> "Who is a whale to virginity and devours up +all the fry it finds."--'All's Well that Ends Well,' iv. +3.</blockquote> +<br> +<a name="BESTIARIES_08"></a> +<center><b>THE CROCODILE</b></center> +<br> +<p>The crocodile is a fierce beast that lives always beside the +river Nile. In shape it is somewhat like an ox; it is full twenty +ells long, and as big around as the trunk of a tree. It has four +feet, large claws, and very sharp teeth; by means of these it is +well armed. So hard and tough is its skin, that it minds not in the +least hard blows made by sharp stones. Never was seen another such +a beast, for it lives on land and in water. At night it is +submerged in water, and during the day it reposes upon the land. If +it meets and overcomes a man, it swallows him entire, so that +nothing remains. But ever after it laments him as long as it +lives<a name="FNanchor12"></a><a href="#Footnote_12">[12]</a>. The +upper jaw of this beast is immovable when it eats, and the lower +one alone moves. No other living creature has this peculiarity. The +other beast of which I have told you (the water-serpent), which +always lives in the water, hates the crocodile with a mortal +hatred. When it sees the crocodile sleeping on the ground with its +mouth wide open, it rolls itself in the slime and mud in order to +become more slippery. Then it leaps into the throat of the +crocodile and is swallowed down into its stomach. Here it bites and +tears its way out again, but the crocodile dies on account of its +wounds.</p> +<blockquote><a name="Footnote_12"></a><a href= +"#FNanchor12">[12]</a> "Crocodile tears" are proverbial. Cf: +<blockquote> + "As the +mournful crocodile<br> +With sorrow snares relenting passengers."--'2 Henry VI.,' iii. +1.<br> +"Each drop she falls would prove a crocodile."--'Othello' iv. +1.</blockquote> +</blockquote> +<br> +<a name="BESTIARIES_09"></a> +<center><b>THE TURTLE-DOVE</b></center> +<br> +<p>Now I must tell you of another bird which is courteous and +beautiful, and which loves much and is much loved. This is the +turtle-dove. The male and the female are always together in +mountain or in desert, and if perchance the female loses her +companion never more will she cease to mourn for him, never more +will she sit upon green branch or leaf. Nothing in the world can +induce her to take another mate, but she ever remains loyal to her +husband. When I consider the faithfulness of this bird, I wonder at +the fickleness of man and woman. Many husbands and wives there are +who do not love as the turtle-dove; but if the man bury his wife, +before he has eaten two meals he desires to have another woman in +his arms. The turtle-dove does not so, but remains patient and +faithful to her companion, waiting if haply he might return<a name= +"FNanchor13"></a><a href="#Footnote_13">[13]</a>.</p> +<blockquote><a name="Footnote_13"></a><a href= +"#FNanchor13">[13]</a> +<blockquote>"Like to a pair of loving turtle-doves,<br> +That could not live asunder day or night."--'I Henry VI.,' ii. +2.</blockquote> +</blockquote> +<br> +<br> +<a name="BESTIARIES_10"></a> +<center><b>THE MANDRAGORA</b></center> +<br> +<p>The mandragora is a wild plant, the like of which does not +exist. Many kinds of medicine can be made of its root; this root, +if you look at it closely, will be seen to have the form of a man. +The bark is very useful; when well boiled in water it helps many +diseases. The skillful physicians gather this plant when it is old, +and they say that when it is plucked it weeps and cries, and if any +one hears the cry he will die<a name="FNanchor14"></a><a href= +"#Footnote_14">[14]</a>. But those who gather it do this so +carefully that they receive no evil from it. If a man has a pain in +his head or in his body, or in his hand or foot, it can be cured by +this herb. If you take this plant and beat it and let the man drink +of it, he will fall asleep very softly, and no more will he feel +pain<a name="FNanchor15"></a><a href="#Footnote_15">[15]</a>. There +are two kinds of this plant,--male and female. The leaves of both +are beautiful. The leaf of the female is thick like that of the +wild lettuce.</p> +<blockquote><a name="Footnote_14"></a><a href= +"#FNanchor14">[14]</a> "Would curses kill as doth the mandrake's +groan."--'2 Henry VI.,' iii. 2.</blockquote> +<blockquote><a name="Footnote_15"></a><a href= +"#FNanchor15">[15]</a> +<blockquote> "Not poppy, nor +mandragora,<br> +Nor all the drowsy syrups of the world."--'Othello,' iii. +3.</blockquote> +</blockquote> +<br> +<br> +<a name="BESTIARIES_11"></a> +<center><b>SAPPHIRE</b></center> +<br> +<p>The following two extracts are translated from 'Les Lapidaires +Français du Moyen Âge,' by Leopold Pannier, Paris, +1882.</p> +<br> +<p>The sapphire is beautiful, and worthy to shine on the fingers of +a king. In color it resembles the sky when it is pure and free from +clouds<a name="FNanchor16"></a><a href="#Footnote_16">[16]</a>. No +precious stone has greater virtue or beauty. One kind of sapphire +is found among the pebbles in the country of Libya; but that which +comes from the land of the Turk is more precious. It is called the +gem of gems, and is of great value to men and women. It gives +comfort to the heart and renders the limbs strong and sound. It +takes away envy and perfidy and can set the prisoner at liberty. He +who carries it about him will never have fear. It pacifies those +who are angry, and by means of it one can see into the unknown.</p> +<blockquote><a name="Footnote_16"></a><a href= +"#FNanchor16">[16]</a> Cf. the exquisite line of Dante, +'Purgatorio,' i. 13:-- 'Dolce color +d'oriental zaffiro.'</blockquote> +<p>It is very valuable in medicine. It cools those who are feverish +and who on account of pain are covered with perspiration. When +powdered and dissolved in milk it is good for ulcers. It cures +headache and diseases of the eyes and tongue. He who wears it must +live chastely and honorably; so shall he never feel the distress of +poverty.</p> +<br> +<a name="BESTIARIES_12"></a> +<center><b>CORAL</b></center> +<br> +<p>Coral grows like a tree in the sea, and at first its color is +green. When it reaches the air it becomes hard and red. It is half +a foot in length. He who carries it will never be afraid of +lightning or tempest. The field in which it is placed will be very +fertile, and rendered safe from hail or any other kind of storm. It +drives away evil spirits, and gives a good beginning to all +undertakings and brings them to a good end.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BEYLE"></a> +<h2>MARIE-HENRI BEYLE (STENDHAL)</h2> +<h3>(1783-1842)</h3> +<center>BY FREDERIC TABER COOPER</center> +<br> +<p class="par"><img src="images/letter-m.png" width="30%" alt= +""></p> +<p>arie-Henri Beyle, French novelist and man of letters, who is +better known under his bizarre pseudonym of Stendhal, is a somewhat +unusual figure among French writers. He was curiously +misappreciated by his own generation, whose literary movements he +in turn confessedly ignored. He is recognized to-day as an +important link in the development of modern fiction, and is even +discussed concurrently with Balzac, in the same way that we speak +of Dickens and Thackeray, Emerson and Lowell.</p> +<p class="rgt"><img src="images/image-439.png" width="45%" alt= +""><br> +<b>Henri Beyle.</b></p> +<p>There is nothing dramatic in Stendhal's life, which, viewed +impartially, is a simple and somewhat pathetic record of failure +and disillusion. He was six years older than Balzac, having been +born January 23d, 1783, in the small town of Grenoble, in +Dauphiné, which, with its narrow prejudices and petty +formalism, seemed to him in after years "the souvenir of an +abominable indigestion." He early developed an abnormal +sensibility, which would have met with ready response had his +mother lived, but which a keen dread of ridicule taught him to hide +from an unsympathetic father and a still more unkind aunt,--later +his step-mother, Séraphie Gagnon. He seemed predestined to +be misunderstood--even his school companions finding him odd, and +often amusing themselves at his expense. Thus he grew up with a +sense of isolation in his own home, and when, in 1800, he had the +opportunity of going to some distant relatives in Paris, the Daru +family, he seized it eagerly. The following year he accompanied the +younger Darus to Italy, and was present at the battle of Marengo. +This was the turning-point of Stendhal's career. He was dazzled by +Napoleon's successes, and fascinated with the beauty and gayety of +Milan, where he found himself for the first time in a congenial +atmosphere, and among companions animated by a common cause. His +consequent sense of freedom and exaltation knew no bounds. +Henceforth Napoleon was to be his hero, and Italy the land of his +election; two lifelong passions which furnish the clew to much that +is enigmatic in his character.</p> +<p>During the ensuing years, while he followed the fortunes of +Napoleon throughout the Prussian campaign and until after the +retreat from Moscow, Italy was always present in his thoughts, and +when Waterloo ended his political and military aspirations he +hastened back to Milan, declaring that he "had ceased to be a +Frenchman," and settled down to a life of tranquil Bohemianism, too +absorbed in the paintings of Correggio and in the operas of Rossini +to be provident of the future. The following years, the happiest of +his life, were also the period of Stendhal's chief intellectual +growth,--due quite as much to the influence exerted on him by +Italian art and music as by his contact with men like Manzoni, +Monti, and Silvio Pellico. Unfortunately, his relations with +certain Italian patriots aroused the suspicions of the Austrian +police, and he was abruptly banished. He returned to Paris, where +to his surprise life proved more than tolerable, and where he made +many valuable acquaintances, such as Benjamin Constant, Destutt de +Tracy, and Prosper Mérimée. The revolution of July +brought him a change of fortune; for he was in sympathy with Louis +Philippe, and did not scruple to accept the consulship offered him +at Cività Vecchia. He soon found, however, that a small +Mediterranean seaport was a poor substitute for his beloved Milan, +while its trying climate undoubtedly shortened his life. In 1841 +failing health forced him to abandon his duties and return to +Paris, where he died of apoplexy on March 23d, 1842.</p> +<p>So much at least of Stendhal's life must be known in order to +understand his writings; all of which, not excepting the novels, +belong to what Ferdinand Brunetière stigmatizes as "personal +literature." Indeed, the chief interest of many of his books lies +in the side-lights they throw upon his curious personality. He was +a man of violent contrasts, a puzzle to his best friends; one day +making the retreat from Moscow with undaunted zeal, the next +settling down contentedly in Milan, to the very <i>vie de +café</i> he affected to despise. He was a strange +combination of restless energy and philosophic contemplation; +hampered by a morbid sensibility which tended to increase, but +which he flattered himself that he "had learned to hide under an +irony imperceptible to the vulgar," yet continually giving offense +to others by his caustic tongue. He seemed to need the tonic of +strong emotions, and was happiest when devoting himself heart and +soul to some person or cause, whether a Napoleon, a mistress, or a +question of philosophy. His great preoccupation was the analysis of +the human mind, an employment which in later years became a +positive detriment. He was often led to attribute ulterior motives +to his friends, a course which only served to render him morbid and +unjust; while his equally pitiless dissection of his own sensations +often robbed them of half their charm. Even love and war, his +favorite emotions, left him disillusioned, asking "Is that all it +amounts to?" He always had a profound respect for force of +character, regarding even lawlessness as preferable to apathy; but +he was implacable towards baseness or vulgarity. Herein lies, +perhaps, the chief reason for Stendhal's ill success in life; he +would never stoop to obsequiousness or flattery, and in avoiding +even the semblance of self-interest, allowed his fairest chances to +pass him by. "I have little regret for my lost opportunities," he +wrote in 1835. "In place of ten thousand, I might be getting +twenty; in place of Chevalier, I might be Officer of the Legion of +Honor: but I should have had to think three or four hours a day of +those platitudes of ambition which are dignified by the name of +politics; I should have had to commit many base acts:" a brief but +admirable epitome of Stendhal's whole life and character.</p> +<p>Aside from his works of fiction, Stendhal's works may be +conveniently grouped under biographies,--'Vie de Haydn, de Mozart, +et de Metastase,' 'Vie de Napoléon,' 'Vie de Rossini'; +literary and artistic criticism,--'Histoire de la Peinture en +Italie,' 'Racine et Shakespeare,' 'Mélanges d'Art et de +Littérature'; travels,--'Rome, Naples, et Florence,' +'Promenades dans Rome,' 'Mémoires d'un Touriste'; and one +volume of sentimental psychology, his 'Essai sur l'Amour,' to which +Bourget owes the suggestion of his 'Physiologie de l'Amour +Moderne.' Many of these works merit greater popularity, being +written in an easy, fluent style, and relieved by his inexhaustible +fund of anecdote and personal reminiscence. His books of travel, +especially, are charming <i>causeries</i>, full of a sympathetic +spontaneity which more than atones for their lack of method; his +'Walks in Rome' is more readable than two-thirds of the books since +written on that subject.</p> +<p>Stendhal's present vogue, however, is due primarily to his +novels, to which he owes the almost literal fulfillment of his +prophecy that he would not be appreciated until 1880. Before that +date they had been comparatively neglected, in spite of Balzac's +spontaneous and enthusiastic tribute to the 'Chartreuse de Parme,' +and the appreciative criticisms of Taine and Prosper +Mérimée. The truth is that Stendhal was in some ways +a generation behind his time, and often has an odd, old-fashioned +flavor suggestive of Marivaux and Crébillon <i>fils</i>. On +the other hand, his psychologic tendency is distinctly modern, and +not at all to the taste of an age which found Chateaubriand or +Madame de Staël eminently satisfactory. But he appeals +strongly to the speculating, self-questioning spirit of the present +day, and Zola and Bourget in turn have been glad to claim kinship +with him.</p> +<p>Stendhal, however, cannot be summarily labeled and dismissed as +a realist or psychologue in the modern acceptation of the term, +although he was a pioneer in both fields. He had a sovereign +contempt for literary style or method, and little dreamed that he +would one day be regarded as the founder of a school. It must be +remembered that he was a soldier before he was a man of letters, +and his love of adventure occasionally got the better of his love +of logic, making his novels a curious mixture of convincing truth +and wild romanticism. His heroes are singularly like himself, a +mixture of morbid introspection and restless energy: he seems to +have taken special pleasure in making them succeed where he had +failed in life, and when the spirit of the story-teller gets the +better of the psychologist, he sends them on a career of adventure +which puts to shame Dumas <i>père</i> or Walter Scott. And +yet Stendhal was a born analyst, a self-styled "observer of the +human heart"; and the real merit of his novels lies in the +marvelous fidelity with which he interprets the emotions, showing +the inner workings of his hero's mind from day to day, and +multiplying petty details with convincing logic. But in his +preoccupation for mental conditions he is apt to lose sight of the +material side of life, and the symmetry of his novels is marred by +a meagreness of physical detail and a lack of atmosphere. Zola has +laid his finger upon Stendhal's real weakness when he points out +that "the landscape, the climate, the time of day, the +weather,.--Nature herself, in other words,--never seems to +intervene and exert an influence on his characters"; and he cites a +passage which in point of fact admirably illustrates his meaning, +the scene from the 'Rouge et Noir', where Julien endeavors to take +the hand of Mme. de Rênal, which he characterizes as "a +little mute drama of great power," adding in conclusion:--"Give +that episode to an author for whom the <i>milieu</i> exists, and he +will make the night, with its odors, its voices, its soft +voluptuousness, play a part in the defeat of the woman. And that +author will be in the right; his picture will be more complete." It +is this tendency to leave nature out of consideration which gives +Stendhal's characters a flavor of abstraction, and caused +Sainte-Beuve to declare in disgust that they were "not human +beings, but ingeniously constructed automatons." Yet it is unfair +to conclude with Zola, that Stendhal was a man for whom the outside +world did not exist; he was not insensible to the beauties of +nature, only he looked upon them as a secondary consideration. +After a sympathetic description of the Rhone valley, he had to add, +"But the interest of a landscape is insufficient; in the long run, +some moral or historical interest is indispensable." Yet he +recognized explicitly the influence of climate and environment upon +character, and seems to have been sensible of his own shortcomings +as an author. "I abhor material descriptions," he confesses in +'Souvenirs d'Égotisme': "the <i>ennui</i> of making them +deters me from writing novels."</p> +<p>Nevertheless, aside from his short 'Chroniques' and 'Nouvelles,' +and the posthumous 'Lamiel' which he probably intended to destroy, +Stendhal has left four stories which deserve detailed +consideration: 'Armance,' 'Le Rouge et Le Noir,' 'La Chartreuse de +Parme,' and the fragmentary novel 'Lucien Leuwen.'</p> +<p>As has been justly pointed out by Stendhal's sympathetic +biographer, Edouard Rod, the heroes of the four books are +essentially of one type, and all more or less faithful copies of +himself; having in common a need of activity, a thirst for love, a +keen sensibility, and an unbounded admiration for Napoleon--and +differing only by reason of the several <i>milieus</i> in which he +has placed them. The first of these, 'Armance,' appeared in 1827. +The hero, Octave, is an aristocrat, son of the Marquis de Malivert, +who "was very rich before the Revolution, and when he returned to +Paris in 1814, thought himself beggared on an income of twenty or +thirty thousand." Octave is the most exaggerated of all Stendhal's +heroes; a mysterious, sombre being, "a misanthrope before his +time"; coupling with his pride of birth a consciousness of its +vanity:--"Had heaven made me the son of a manufacturer of cloth, I +should have worked at my desk from the age of sixteen, while now my +sole occupation has been luxury. I should have had less pride and +more happiness. Ah, how I despise myself!" Yet it is part of +Octave's pretensions to regard himself as superior to love. When he +discovers his passion for his cousin Armance, he is overwhelmed +with despair: "I am in love," he said in a choked voice. "I, in +love! Great God!" The object of this reluctant passion, Armance de +Zohiloff, is a poor orphan, dependent upon a rich relative. Like +Octave, she struggles against her affection, but for better +reasons: "The world will look upon me as a lady's-maid who has +entrapped the son of the family." The history of their long and +secret struggle against this growing passion, complicated by +outside incidents and intrigues, forms the bulk of the volume. At +last Octave is wounded in a duel, and moved by the belief that he +is dying, they mutually confess their affection. Octave +unexpectedly recovers, and as Armance about this time receives an +inheritance from a distant relative, the story promises to end +happily; but at the last moment he is induced to credit a calumny +against her, and commits suicide, when Armance retires to a +convent. The book is distinctly inferior to his later efforts, and +M. Rod is the first to find hidden beauties in it.</p> +<p>Very different was his next book, 'Le Rouge et Le Noir,' the +Army and the Priesthood, which appeared in 1830, and is now +recognized as Stendhal's masterpiece. As its singular name is +intended to imply, it deals with the changed social conditions +which confronted the young men of France after the downfall of +Napoleon,--the reaction against war and military glory in favor of +the Church; a topic which greatly occupied Stendhal, and which is +well summed up in the words of his hero Julien:--"When Bonaparte +made himself talked about, France was afraid of invasion; military +merit was necessary and fashionable. Today one sees priests of +forty with appointments of a hundred thousand francs, three times +that of Napoleon's famous generals;" and he concludes, "The thing +to do is to be a priest."</p> +<p>This Julien Sorel is the son of a shrewd but ignorant peasant, +owner of a prosperous saw-mill in the small town of +Verrières, in Franche-Comté. "He was a small young +man, of feeble appearance, with irregular but delicate features, +and an aquiline nose; ... who could have divined that that girlish +face, so pale, and gentle, hid an indomitable resolution to expose +himself to a thousand deaths sooner than not make his fortune?" His +only schooling is gained from a cousin, an old army surgeon, who +taught him Latin and inflamed his fancy with stories of Napoleon, +and from the aged Abbé Chélan who grounds him in +theology,--for Julien had proclaimed his intention of studying for +the priesthood. By unexpected good luck, his Latin earned him an +appointment as tutor to the children of M. de Rênal, the +pompous and purse-proud Mayor of Verrières. Julien is +haunted by his peculiar notions of duties which he owes it to +himself to perform as steps towards his worldly advancement; for +circumstances have made him a consummate hypocrite. One of these +duties is to make love to Mme. de Rênal: "Why should he not +be loved as Bonaparte, while still poor, had been loved by the +brilliant Mme. de Beauharnais?" His pursuit of the Mayor's gentle +and inexperienced wife proves only too successful, but at last +reaches the ears of the Abbé Chélan, whose influence +compels Julien to leave Verrières and go to the Seminary at +Besançon, to finish his theological studies. His stay at the +Seminary was full of disappointment, for "it was in vain that he +made himself small and insignificant, he could not please: he was +too different." At last he has a chance to go to Paris, as +secretary to the influential Marquis de La Mole, who interests +himself in Julien and endeavors to advance him socially. The +Marquis has a daughter, Mathilde, a female counterpart of +Stendhal's heroes; with exalted ideas of duty, and a profound +reverence for Marguerite of Navarre, who dared to ask the +executioner for the head of her lover, Boniface de La Mole, +executed April 30th, 1574. Mathilde always assumed mourning on +April 30th. "I know of nothing," she declared, "except condemnation +to death, which distinguishes a man: it is the only thing which +cannot be bought." Julien soon conceives it his duty to win +Mathilde's affections, and the love passages which ensue between +these two "ésprits supérieurs" are singular in the +extreme: they arrive at love only through a complicated +intellectual process, in which the question of duty, either to +themselves or to each other, is always paramount. At last it +becomes necessary to confess their affection to the Marquis, who is +naturally furious. "For the first time in his life this nobleman +forgot his manners: he overwhelmed him with atrocious insults, +worthy of a cab-driver. Perhaps the novelty of these oaths was a +distraction." What hurts him most is that Mathilde will be plain +Mme. Sorel and not a duchess. But at this juncture the father +receives a letter from Mme. de Rênal, telling of her +relations with Julien, and accusing him of having deliberately won +Mathilde in order to possess her wealth. Such baseness the Marquis +cannot pardon, and at any cost he forbids the marriage. Julien +returns immediately to Verrières, and finding Mme. de +Rênal in church, deliberately shoots her. She ultimately +recovers from her wound, but Julien is nevertheless condemned and +guillotined. Mme. de Rênal dies of remorse, while Mathilde, +emulating Marguerite de Navarre, buries Julien's head with her own +hands.</p> +<p>The 'Chartreuse de Parme,' although written the same year as the +'Rouge et Noir', was not published until 1839, two years before his +death, and was judged his best effort. "He has written 'The Modern +Prince,'" declared Balzac, "the book which Macchiavelli would have +written if he had been living exiled from Italy in the nineteenth +century." The action takes place at Parma; and as a picture of +court life in a small Italian principality, with all its jealousies +and intrigues, the book is certainly a masterpiece. But it is +marred by the extravagance of its plot. The hero, Fabrice, is the +younger son of a proud and bigoted Milanese nobleman, the Marquis +del Dongo, who "joined a sordid avarice to a host of other fine +qualities," and in his devotion to the House of Austria was +implacable towards Napoleon. Fabrice, however, was "a young man +susceptible of enthusiasm," and on learning of Napoleon's return +from Elba, hastened secretly to join him, and participated in the +battle of Waterloo. This escapade is denounced by his father to the +Austrian police, and on his return Fabrice is forced to take refuge +in Swiss territory. About this time his aunt Gina, the beautiful +Countess Pietranera, goes to live at Parma; and to conceal a love +affair with the prime minister Mosca marries the old Duke of +Sanseverina-Taxis, who obligingly leaves on his wedding-day for a +distant embassy. Gina has always felt a strong interest for +Fabrice, which later ripens into a passion. It is agreed that +Fabrice shall study for the priesthood, and that Count Mosca will +use his influence to have him made Archbishop of Parma, an office +frequently held in the past by Del Dongos. Unfortunately Fabrice is +drawn into a quarrel with a certain Giletti, a low comedy actor, +whom he kills in self-defense. Ordinarily the killing of a fellow +of Giletti's stamp by a Del Dongo would have been considered a +trifling matter; but this offense assumes importance through the +efforts of a certain political faction to discredit the minister +through his protégé. The situation is further +complicated by the Prince, Ernest IV., who has come under the spell +of Gina's beauty, and furious at finding her obdurate, is glad of +an opportunity to humiliate her. Fabrice is condemned to ten years' +imprisonment in the Farnese tower, the Prince treacherously +disregarding his promise of pardon. From this point the plot +becomes fantastic. From his window in the tower, Fabrice overlooks +that of Clélia, daughter of General Fabio Conti, governor of +the prison. It is a case of mutual love at first sight, and for +months the two hold communication by signs above the heads of the +passing sentries. After his fabulous escape, effected by the help +of his aunt, Fabrice is inconsolable, and at length returns +voluntarily to the tower in order to be near Clélia. It is +not until after the death of the Prince that the Duchess obtains +Fabrice's pardon from his son and successor. At last Clélia +dies, and Fabrice enters the neighboring monastery, the Chartreuse +of Parma.</p> +<p>Fabrice's experiences on the battle-field of Waterloo, where as +a raw youth he first "smelled powder," are recounted with a good +deal of realistic detail. They suggest a comparison with a book of +more recent date devoted to a similar subject, Stephen Crane's 'Red +Badge of Courage,' though of course the latter does not approach +Stendhal in artistic self-restraint and mastery over form.</p> +<p>The remaining novel, 'Lucien Leuwen,' was left in an unfinished +state, and thus published after the author's death, under the title +of 'Le Chasseur Vert.' Recently they have been republished, under +the name of 'Lucien Leuwen,' with additional material which the +editor, M. Jean de Mitty, claims to have deciphered from almost +illegible manuscripts found in the library at Grenoble. But even +without these additions there is enough to show that 'Lucien +Leuwen' would have been one of his best efforts, second only, +perhaps, to the 'Rouge et Noir.' The hero, Lucien, is the son of a +rich financier, who "was never out of temper and never took a +serious tone with his son," but cheerfully paid his debts, saying +"A son is a creditor provided by nature." Out of mere <i>ennui</i> +from lack of serious employment, Lucien enters as sub-lieutenant a +regiment of Lancers in garrison at Nancy. He has no illusions about +military life in times of peace:--"I shall wage war only upon +cigars; I shall become the pillager of a military café in +the gloomy garrison of an ill-paved little town.... What glory! My +soul will be well caught when I present myself to Napoleon in the +next world. 'No doubt,' he will say, 'you were dying of hunger when +you took up this life?' 'No, General,' I shall reply, 'I thought I +was imitating you.'" His early experiences at Nancy, his subsequent +meeting with and love for Mme. de Chasteller, are admirable equally +for their moderation and their fidelity.</p> +<p>Since Stendhalism has become a cult, so much has been written on +the subject that a complete bibliography of Stendhaliana would +occupy several pages. Aside from the well-known criticisms of +Balzac, Taine, and Sainte-Beuve, the most important contributions +to the subject are the article by Zola in 'Romanciers +Naturalistes,' that by Bourget in 'Essais de Psychologie +Contemporaine,' and the biography by Edouard Rod in the 'Grands +Écrivains Français' (Great French Writers) Series. +Thanks to the zeal of M. Casimir Stryienski, a considerable amount +of autobiographical material has lately been brought to light: +'Journal de Stendhal' 'Vie de Henri Broulard,' and 'Souvenirs +d'Égotisme,' which, together with his 'Correspondence,' are +indispensable for a true knowledge of the man.</p> +<p class="sign"><img src="images/sign-447.png" width="60%" alt= +""></p> +<br> +<br> +<br> +<br> +<br> +<br> +<a name="BEYLE_01"></a> +<center><b>PRINCESS SANSEVERINA'S INTERVIEW</b></center> +<br> +<center>From 'La Chartreuse de Parme'</center> +<br> +<p>While Fabrice was gone a-hunting after love adventures in a +small village close by Parma, the Fiscal General, Rassi, unaware +that he was so near, continued to treat his case as though he had +been a Liberal. The witnesses for the defense he pretended that he +could not find, or rather that he had frightened them off; and +finally, after nearly a year of such sharp practice, and about two +months after Fabrice's last return to Bologna, on a certain Friday, +the Marquise Raversi, intoxicated with joy, stated publicly in her +salon that on the following day "the sentence which had just been +passed upon that little Del Dongo would be presented to the Prince +for signature, and would be approved by him." Shortly afterwards +the Duchess learned these remarks of her enemy.</p> +<p>"The Count must be very poorly served by his agents," she said +to herself: "only this morning he was sure that sentence could not +be passed inside of a week: perhaps he would not be sorry to have +my young Grand Vicar removed from Parma some day. But," she added, +"we shall see him come back, and he shall be our Archbishop." The +Duchess rang.</p> +<p>"Summon all the servants to the waiting-room," she said to her +valet-de-chambre, "even the cooks; go and obtain from the officer +in command the requisite permit for four post-horses; and see that +in less than half an hour these horses are attached to my landau." +All her women were soon busied in packing the trunks: the Duchess +hastily donned a traveling dress, without once sending word to the +Count; the idea of amusing herself at his expense filled her with +joy.</p> +<p>"My friend," she said to the assembled servants, "is about to +suffer condemnation by default for having had the audacity to +defend his life against a madman; it was Giletti who meant to kill +him. You have all been able to see how gentle and inoffensive +Fabrice's character is. Justly incensed at this atrocious injury, I +am starting for Florence. I shall leave ten years' wages for each +of you; if you are unhappy, write to me; and so long as I have a +sequin, there shall be something for you."</p> +<p>The Duchess felt exactly as she spoke, and at her last words the +servants burst into tears; she herself had moist eyes. She added in +a voice of emotion:--"Pray to God for me and for Monsigneur Fabrice +del Dongo, first Grand Vicar of this Diocese, who will be condemned +to-morrow morning to the galleys, or what would be less stupid, to +the penalty of death."</p> +<p>The tears of the servants redoubled, and little by little +changed into cries which were very nearly seditious. The Duchess +entered her carriage and drove directly to the palace of the +Prince. In spite of the untimely hour, she solicited an audience, +through General Fontana, acting aide-de-camp. She was nowise in +full court toilette, a fact which threw that aide-de-camp into a +profound stupor.</p> +<p>The Prince, for his part, was by no means surprised, still less +annoyed, at this request for an audience. "We are going to see +tears shed by lovely eyes," said he, rubbing his hands; "she is +coming to ask for grace; at last that proud beauty has to humble +herself! Really she has been too insupportable with her little +independent airs! Those eloquent eyes always seemed to be saying to +me, at the least thing which annoyed her, 'Naples or Milan would be +an abode offering very different attractions from those of your +small town of Parma.' True enough, I do not reign over Naples or +Milan; but all the same, this fine lady has come to ask me +something which depends exclusively upon me, and which she is +burning to obtain. I always thought the coming of that nephew would +give me some hold upon her."</p> +<p>While the Prince was smiling over his thoughts, and giving +himself up to all these agreeable anticipations, he was striding up +and down his cabinet, at the door of which General Fontana still +remained standing, erect and stiff as a soldier at carry-arms. +Seeing the Prince's flashing eye and recalling the Duchess's +traveling dress, he prepared for a dissolution of the monarchy. His +confusion knew no bounds when he heard the Prince's order: "Beg +Madame the Duchess to wait a small quarter of an hour." The +general-aide-de-camp executed a right-about-face, like a soldier on +parade; the Prince still smiled. "Fontana is not accustomed," he +said to himself, "to see our proud Duchess kept waiting. The +astonished face with which he has gone to tell her 'to wait that +small quarter of an hour' will pave the way for those touching +tears which this cabinet is about to witness." This small quarter +of an hour was delicious to the Prince; he paced the floor with a +firm and measured step, he <i>reigned</i>. "The important thing now +is to say nothing which is not perfectly in keeping. It will not do +to forget that she is one of the highest ladies of my court. How +would Louis XIV. have spoken to the princesses his daughters when +he had occasion to be displeased with them?" and his eyes sought +the portrait of the great king.</p> +<p>The amusing part of the matter was that the Prince did not even +think of asking himself whether he would show clemency to Fabrice, +and how far such clemency would go. Finally, at the end of twenty +minutes, the faithful Fontana presented himself anew at the door, +but without uttering a word. "The Duchess Sanseverina may enter," +cried the Prince with a theatrical air. "The tears are about to +commence," he told himself, and as if to be prepared for such a +spectacle, he drew out his handkerchief.</p> +<p>Never had the Duchess appeared so gay and charming; she did not +look twenty-five. The poor aide-de-camp, seeing that her light and +rapid footstep barely seemed to skim the carpet, was on the point +of losing his reason once for all.</p> +<p>"I must crave many pardons of your Most Serene Highness," said +the Duchess in her soft tones of careless gayety: "I have taken the +liberty of presenting myself in a toilette which is not altogether +appropriate; but your Highness has so accustomed me to his favors +that I have ventured to hope that he would accord me this +additional grace."</p> +<p>The Duchess spoke quite slowly, so as to give herself time to +enjoy the expression of the Prince. It was delicious, on account of +his profound astonishment, and that remnant of grand airs which the +pose of his head and arms still betrayed. The Prince had remained +as if struck by a thunderbolt; from time to time, he exclaimed, in +his high-pitched voice, shrill and perturbed, as though +articulating with difficulty: <i>"How is this? how is this?"</i> +After concluding her compliment, the Duchess, as though from +respect, afforded him ample time to reply; then she added:--</p> +<p>"I venture to hope that your Most Serene Highness will deign to +pardon the incongruity of my costume:" but as she spoke, her +mocking eyes flashed with so bright a gleam that the Prince could +not meet them. He looked at the ceiling, a sign with him of the +most extreme embarrassment.</p> +<p>"How is this? how is this?" he said to himself again; then by +good luck, he found a phrase: "Madame la Duchesse, pray be seated," +and he himself pushed forward a chair, with fairly good grace. The +Duchess was by no means insensible to this attention, and she +moderated the petulance of her glance.</p> +<p>"How is this? how is this?" still repeated the Prince inwardly, +shifting so uneasily in his chair that one would have said that he +could not find a secure position.</p> +<p>"I am going to take advantage of the freshness of the night to +travel post," resumed the Duchess, "and as my absence may be of +some duration, I was unwilling to leave the territory of your Most +Serene Highness without expressing my thanks for all the favors +which for five years your Highness has deigned to show me." At +these words the Prince at last understood; he turned pale. It was +as man of the world that he felt it most keenly, on finding himself +mistaken in his predictions. Then he assumed a grand air, in every +way worthy of the portrait of Louis XIV., which was before his +eyes. "Admirable," said the Duchess to herself, "there is a +man."</p> +<p>"And what is the motive of this sudden departure?" asked the +Prince, in a fairly firm tone.</p> +<p>"I have contemplated leaving, for some time," replied the +Duchess, "and a slight insult which has been shown to +<i>Monsignor</i> del Dongo, who is to be condemned to-morrow to +death or to the galleys makes me hasten my departure."</p> +<p>"And to what city are you going?"</p> +<p>"To Naples, I think." As she arose, she added, "It only remains +for me to take leave of your Most Serene Highness, and to thank him +very humbly for all his <i>earlier</i> kindnesses." She, on her +part, spoke with so firm an air that the Prince saw clearly that in +a few seconds all would be finished. He knew that if a triumphant +departure was once effected, all compromise would be impossible. +She was not the woman to retrace her steps. He hastened after +her.</p> +<p>"But you know very well, Madame la Duchesse," he said, taking +her hand, "that I have always regarded you with a friendship to +which it needed only a word from you to give another name. But a +murder has been committed; there is no way of denying that. I have +intrusted the conduct of the case to my best judges ..."</p> +<p>At these words the Duchess drew herself up to her full height: +All semblance of respect, or even of urbanity, disappeared in a +flash. The outraged woman was clearly revealed, the outraged woman +addressing herself to the one whom she knows to be of bad faith. It +was with an expression of keenest anger and even of contempt that +she said to the Prince, dwelling upon every word:--</p> +<p>"I am leaving forever the States of your Most Serene Highness, +in order that I shall never again hear mentioned the Fiscal Rassi, +or the other infamous assassins who have condemned my nephew and so +many others to death. If your Most Serene Highness does not wish to +mingle a tinge of bitterness with the last moments which I am to +pass with a prince who is both polite and entertaining when he is +not misled, I beg him very humbly not to recall the thought of +those infamous judges who sell themselves for a thousand crowns or +a decoration."</p> +<p>The admirable accent, and above all the tone of sincerity, with +which these words were uttered, made the Prince tremble; for an +instant he feared to see his dignity compromised by a still more +direct accusation. On the whole, however, his sensations quickly +culminated in one of pleasure. He admired the Duchess, and at this +moment her entire person attained a sublime beauty.</p> +<p>"Heavens! how beautiful she is," the Prince said to himself: +"one may well overlook something in so unique a woman, one whose +like perhaps is not to be found in all Italy.--Well, with a little +diplomacy it might not be altogether impossible to make her +mine.--There is a wide difference between such a being and that +doll of a Marquise Balbi; besides, the latter steals at least three +hundred thousand francs a year from my poor subjects.--But did I +understand her aright?" he thought all of a sudden: "she said, +'condemned my nephew and so many others.'" His anger came to the +surface, and it was with a haughtiness worthy of supreme rank that +the Prince said, "And what must be done to keep Madame from +leaving?"</p> +<p>"Something of which you are not capable," replied the Duchess, +with an accent of the bitterest irony and the most thinly disguised +contempt.</p> +<p>The Prince was beside himself, but thanks to his long practice +of the profession of absolute sovereign, he found the strength to +resist his first impulse. "That woman must be mine," he said to +himself. "I owe myself at least that; then I must let her perish +under my contempt. If she leaves this room, I shall never see her +again." But, intoxicated as he was at this moment with wrath and +hatred, how was he to find words which would at once satisfy what +was due to himself and induce the Duchess not to desert his court +on the instant? "A gesture," he thought, "is something which can +neither be repeated nor turned into ridicule," and he went and +placed himself between the Duchess and the door of his cabinet. +Just then he heard a slight tapping at this door.</p> +<p>"Who is this jackanapes?" he cried, at the top of his lungs, +"who is this jackanapes who comes here, thrusting his idiotic +presence upon me?" Poor General Fontana showed his face, pale and +in evident discomfiture, and with the air of a man at his last +gasp, indistinctly pronounced these words:--"His Excellency Count +Mosca solicits the honor of being admitted."</p> +<p>"Let him enter," said the Prince in a loud voice; and as Mosca +made his salutation, greeted him with:--</p> +<p>"Well, sir, here is Madame the Duchess Sanseverina, who declares +that she is on the point of leaving Parma to go and settle at +Naples, and has made me saucy speeches into the bargain."</p> +<p>"How is this?" said Mosca, turning pale.</p> +<p>"What, then you knew nothing of this project of departure?"</p> +<p>"Not the first word. At six o'clock I left Madame joyous and +contented."</p> +<p>This speech produced an incredible effect upon the Prince. First +he glanced at Mosca, whose growing pallor proved that he spoke the +truth and was in no way the accomplice of the Duchess's sudden +freak. "In that case," he said to himself, "I am losing her +forever. Pleasure and vengeance, everything is escaping me at once. +At Naples she will make epigrams with her nephew Fabrice, about the +great wrath of the little Prince of Parma." He looked at the +Duchess; anger and the most violent contempt were struggling in her +heart; her eyes were fixed at that moment upon Count Mosca, and the +fine lines of that lovely mouth expressed the most bitter disdain. +The entire expression of her face seemed to say, "Vile courtier!" +"So," thought the Prince, after having examined her, "I have lost +even this means of calling her back to our country. If she leaves +the room at this moment, she is lost to me. And the Lord only knows +what she will say in Naples of my judges, and with that wit and +divine power of persuasion with which heaven has endowed her, she +will make the whole world believe her. I shall owe her the +reputation of being a ridiculous tyrant, who gets up in the middle +of the night to look under his bed!"</p> +<p>Then, by an adroit movement, and as if striving to work off his +agitation by striding up and down, the Prince placed himself anew +before the door of his cabinet. The count was on his right, pale, +unnerved, and trembling so that he had to lean for support upon the +back of the chair which the Duchess had occupied at the beginning +of the audience, and which the Prince, in a moment of wrath, had +hurled to a distance. The Count was really in love. "If the Duchess +goes away, I shall follow her," he told himself; "but will she +tolerate my company? that is the question."</p> +<p>On the left of the Prince stood the Duchess, her arms crossed +and pressed against her breast, looking at him with superb +intolerance; a complete and profound pallor had succeeded the +glowing colors which just before had animated those exquisite +features.</p> +<p>The Prince, in contrast with both the others, had a high color +and an uneasy air; his left hand played in a nervous fashion with +the cross attached to the grand cordon of his order, which he wore +beneath his coat; with his right hand he caressed his chin.</p> +<p>"What is to be done?" he said to the Count, not altogether +realizing what he was doing himself, but yielding to his habit of +consulting the latter about everything.</p> +<p>"Indeed, Most Serene Highness, I know nothing about it," +answered the Count, with the air of a man who is rendering up his +final sigh; he could hardly utter the words of his response. His +tone of voice gave the Prince the first consolation which his +wounded pride had found during the interview, and this slight +satisfaction helped him to a phrase which was comforting to his +self-esteem:--</p> +<p>"Well," said he, "I am the most reasonable of all three; I am +quite ready to leave my position in the world entirely out of +consideration. <i>I am going to speak as a friend</i>," and he +added with a charming smile of condescension, a fine imitation of +the happy times of Louis XIV, "<i>as a friend speaking to +friends:</i> Madame la Duchesse," he continued, "what are we to do +to make you forget your untimely resolution?"</p> +<p>"Really, I am at a loss to say," replied the Duchess, with a +deep sigh, "really, I am at a loss to say: I have such a horror of +Parma!" There was no attempt at epigram in this speech; one could +see that she spoke in all sincerity.</p> +<p>The Count turned sharply away from her; his courtier's soul was +scandalized. Then he cast a supplicating glance at the Prince. With +much dignity and self-possession the latter allowed a moment to +pass; then, addressing himself to the Count, "I see," said he, +"that your charming friend is altogether beside herself. It is +perfectly simple, she <i>adores</i> her nephew;" and turning +towards the Duchess, he added with the most gallant glance, and at +the same time with the air which one assumes in borrowing a phrase +from a comedy: <i>"What must we do to find favor in these lovely +eyes?"</i></p> +<p>The Duchess had had time to reflect: She answered in a firm, +slow tone, as if she were dictating her ultimatum:--</p> +<p>"His Highness might write me a gracious letter, such as he knows +so well how to write: he might say to me, that being by no means +convinced of the guilt of Fabrice del Dongo, First Grand Vicar of +the Archbishop, he will refuse to sign the sentence when they come +to present it to him, and that this unjust procedure shall have no +consequence in the future."</p> +<p>"How is that? Unjust!" cried the Prince, coloring to the whites +of his eyes, and with renewed anger.</p> +<p>"That is not all," replied the Duchess with truly Roman pride, +"<i>this very evening</i>--and," she interposed, glancing at the +clock, "it is already a quarter past eleven--this very evening, his +Most Serene Highness will send word to the Marquise Raversi that he +advises her to go into the country to recuperate from the fatigues +which she must have suffered from a certain trial which she was +discussing in her salon early in the evening." The Prince strode up +and down his cabinet, like a madman. "Did one ever see such a +woman?" he exclaimed. "She is lacking in respect for me."</p> +<p>The Duchess replied with perfect grace:--</p> +<p>"I have never in my life dreamed of lacking respect for his Most +Serene Highness; His Highness has had the extreme condescension to +say that he was speaking <i>as a friend to friends</i>. What is +more, I have not the smallest desire to remain in Parma," she +added, glancing at the Count with the last degree of contempt. This +glance decided the Prince, who up to that moment had been quite +uncertain, notwithstanding that his words had seemed to imply a +promise; he had a fine contempt for words.</p> +<p>There were still a few more words exchanged; but at last Count +Mosca received the order to write the gracious note solicited by +the Duchess. He omitted the phrase "this unjust procedure shall +have no consequence in the future." "It is sufficient," said the +Count to himself, "if the Prince promises not to sign the sentence +which is to be presented to him." The Prince thanked him by a +glance, as he signed.</p> +<p>The Count made a great mistake; the Prince was wearied and would +have signed the whole. He thought that he was getting out of the +scene well, and the whole affair was dominated, in his eyes, by the +thought--"If the Duchess leaves, I shall find my court a bore +inside of a week." The Count observed that his master corrected the +date, and substituted that of the next day. He looked at the clock; +it indicated almost midnight. The minister saw, in this altered +date, nothing more than a pedantic desire to afford proof of +exactitude and good government. As to the exile of the Marquise +Raversi, the Prince did not even frown; the Prince had a special +weakness for exiling people.</p> +<p>"General Fontana!" he cried, half opening the door.</p> +<p>The General appeared, with such an astonished and curious a face +that a glance of amusement passed between the Duchess and the +Count, and this glance established peace.</p> +<p>"General Fontana," said the Prince, "you are to take my +carriage, which is waiting under the colonnade; you will go to the +house of Mme. Raversi, and have yourself announced: if she is in +bed, you will add that you are my representative, and when admitted +to her chamber, you will say precisely these words, and no +others:--'Mme. la Marquise Raversi, his Most Serene Highness +requires that you shall depart before eight o'clock to-morrow +morning, for your chateau of Valleja. His Highness will notify you +when you may return to Parma.'"</p> +<p>The Prince's eyes sought those of the Duchess, but the latter, +omitting the thanks which he had expected, made him an extremely +respectful reverence, and rapidly left the room.</p> +<p>"What a woman!" said the Prince, turning towards Count +Mosca.</p> +<p>Copyrighted by George H. Richmond and Company.</p> +<br> +<a name="BEYLE_02"></a> +<center><b>CLÉLIA AIDS FABRICE TO ESCAPE</b></center> +<br> +<center>From "La Chartreuse de Parme"</center> +<br> +<p>One day--Fabrice had been a captive nearly three months, had had +absolutely no communication with the outside world, and yet was not +unhappy--Grillo had remained hanging about the cell until a late +hour of the morning. Fabrice could think of no way of getting rid +of him, and was on pins and needles; half-past twelve had struck +when at last he was enabled to open the little trap in the hateful +shutter.</p> +<p>Clélia was standing at the window of the aviary in an +expectant attitude, an expression of profound despair on her +contracted features. As soon as she saw Fabrice she signaled to him +that all was lost; then, hurrying to her piano, and adapting her +words to the accompaniment of a recitative from a favorite opera, +in accents tremulous with her emotion and the fear of being +overheard by the sentry beneath, she sang:--</p> +<p>"Ah, do I see you still alive? Praise God for his infinite +mercy! Barbone, the wretch whose insolence you chastised the day of +your arrival here, disappeared some time ago and for a few days was +not seen about the citadel. He returned day before yesterday, and +since then I have reason to fear he has a design of poisoning you. +He has been seen prowling about the kitchen of the palace where +your meals are prepared. I can assert nothing positively, but it is +my maid's belief that his skulking there bodes you no good. I was +frightened this morning, not seeing you at the usual time; I +thought you must be dead. Until you hear more from me, do not touch +the food they give you; I will try to manage to convey a little +chocolate to you. In any case, if you have a cord, or can make one +from your linen, let it down from your window among the +orange-trees this evening at nine o'clock. I will attach a stronger +cord to it, and with its aid you can draw up the bread and +chocolate I will have in readiness."</p> +<p>Fabrice had carefully preserved the bit of charcoal he had found +in the stove; taking advantage of Clélia's more softened +mood, he formed on the palm of his hand a number of letters in +succession, which taken together made up these words:--</p> +<p>"I love you, and life is dear to me only when I can see you. +Above all else, send me paper and a pencil."</p> +<p>As Fabrice had hoped and expected, the extreme terror visible in +the young girl's face operated to prevent her from terminating the +interview on receipt of this audacious message; she only testified +her displeasure by her looks. Fabrice had the prudence to +add:--"The wind blows so hard to-day that I couldn't catch quite +all you said; and then, too, the sound of the piano drowns your +voice. You were saying something about poison, weren't you--what +was it?"</p> +<p>At these words the young girl's terror returned in all its +violence; she hurriedly set to work to describe with ink a number +of large capital letters on the leaves she tore from one of her +books, and Fabrice was delighted to see her at last adopt the +method of correspondence that he had been vainly advocating for the +last three months. But this system, although an improvement on the +signals, was less desirable than a regular exchange of letters, so +Fabrice constantly feigned to be unable to decipher the words of +which she exhibited the component letters.</p> +<p>A summons from her father obliged her to leave the aviary. She +was in great alarm lest he might come to look for her there; his +suspicious nature would have been likely to scent danger in the +proximity of his daughter's window to the prisoner's. It had +occurred to Clélia a short time before, while so anxiously +awaiting Fabrice's appearance, that pebbles might be made factors +in their correspondence, by wrapping the paper on which the message +was written round them and throwing them up so they should fall +within the open upper portion of the screen. The device would have +worked well unless Fabrice's keeper chanced to be in the room at +the time.</p> +<p>Our prisoner proceeded to tear one of his shirts into narrow +strips, forming a sort of ribbon. Shortly after nine o'clock that +evening he heard a tapping on the boxes of the orange-trees under +his window; he cautiously lowered his ribbon, and on drawing it up +again found attached to its free end a long cord by means of which +he hauled up a supply of chocolate, and, to his inexpressible +satisfaction, a package of note-paper and a pencil. He dropped the +cord again, but to no purpose; perhaps the sentries on their rounds +had approached the orange-trees. But his delight was sufficient for +one evening. He sat down and wrote a long letter to Clélia; +scarcely was it ended when he fastened it to the cord and let it +down. For more than three hours he waited in vain for some one to +come and take it; two or three times he drew it up and made +alterations in it. "If Clélia does not get my letter +to-night," he said to himself, "while those ideas of poison are +troubling her brain, it is more than likely that to-morrow she will +refuse to receive it."</p> +<p>The fact was that Clélia had been obliged to drive to the +city with her father. Fabrice knew how matters stood when he heard +the General's carriage enter the court about half-past twelve; he +knew it was the General's carriage by the horses' step. What was +his delight when, shortly after hearing the jingle of the General's +spurs as he crossed the esplanade, and the rattle of muskets as the +sentries presented arms, he felt a gentle tug at the cord, the end +of which he had kept wrapped around his wrist! Something heavy was +made fast to the cord; two little jerks notified him to haul up. He +had some difficulty in landing the object over a cornice that +projected under his window.</p> +<p>The article that he had secured at expense of so much trouble +proved to be a carafe of water wrapped in a shawl. The poor young +man, who had been living for so long a time in such complete +solitude, covered the shawl with rapturous kisses. But words are +inadequate to express his emotion when, after so many days of vain +waiting, he discovered a scrap of paper pinned to the shawl.</p> +<p>"Drink no water but this; satisfy your hunger with chocolate," +said this precious missive. "To-morrow I will try to get some bread +to you; I will mark the crust at top and bottom with little crosses +made with ink. It is a frightful thing to say, but you must know +it:--I believe others are implicated in Barbone's design to poison +you. Could you not have understood that the subject you spoke of in +your letter in pencil is displeasing to me? I should not think of +writing to you were it not for the great peril that is hanging over +us. I have seen the Duchess; she is well, as is the Count, but she +is very thin. Write no more on that subject which you know of: +would you wish to make me angry?"</p> +<p>It cost Clélia an effort to write the last sentence but +one of the above note. It was in everybody's mouth in court circles +that Mme. Sanseverina was manifesting a great deal of friendly +interest in Count Baldi, that extremely handsome man and quondam +friend of the Marquise Raversi. The one thing certain was that he +and the Marquise had separated, and he was alleged to have behaved +most shamefully toward the lady who for six years had been to him a +mother and given him his standing in society.</p> +<p>The next morning, long before the sun was up, Grillo entered +Fabrice's cell, laid down what seemed to be a pretty heavy package, +and vanished without saying a word. The package contained a +good-sized loaf of bread, plentifully ornamented with, little +crosses made with a pen. Fabrice covered them with kisses. Why? +Because he was in love. Beside the loaf lay a rouleau incased in +many thicknesses of paper; it contained six thousand francs in +sequins. Finally, Fabrice discovered a handsome brand-new +prayer-book: these words, in a writing he was beginning to be +acquainted with, were written on the fly-leaf:--</p> +<p>"<i>Poison!</i> Beware the water, the wine, everything; confine +yourself to chocolate. Give the untasted dinner to the dog; it will +not do to show distrust; the enemy would have recourse to other +methods. For God's sake, be cautious! no rashness!"</p> +<p>Fabrice made haste to remove the telltale writing which might +have compromised Clélia, and to tear out a number of leaves +from the prayer-book, with which he made several alphabets; each +letter was neatly formed with powdered charcoal moistened with +wine. The alphabets were quite dry when at a quarter to twelve +Clélia appeared at the window of the aviary. "The main thing +now is to persuade her to use them," said Fabrice to himself. But +as it happened, fortunately, she had much to say to the young +prisoner in regard to the plan to poison him (a dog belonging to +one of the kitchen-maids had died after eating a dish cooked for +Fabrice), so that Clélia not only made no objection to the +use of the alphabets, but had herself prepared one in the highest +style of art with ink. Under this method, which did not work +altogether smoothly at the beginning, the conversation lasted an +hour and a half, which was as long as Clélia dared remain in +the aviary. Two or three times, when Fabrice trespassed on +forbidden ground and alluded to matters that were taboo, she made +no answer and walked away to feed her birds.</p> +<p>Fabrice requested that when she sent him his supply of water at +evening she would accompany it with one of her alphabets, which, +being traced in ink, were legible at a greater distance. He did not +fail to write her a good long letter, and was careful to put in it +no soft nonsense--at least, of a nature to offend.</p> +<p>The next day, in their alphabetical conversation, Clélia +had no reproach to make him. She informed him that there was less +to be apprehended from the poisoners. Barbone had been waylaid and +nearly murdered by the lovers of the Governor's scullery-maids; he +would scarcely venture to show his face in the kitchens again. She +owned up to stealing a counter-poison from her father; she sent it +to him with directions how to use it, but the main thing was to +reject at once all food that seemed to have an unnatural taste.</p> +<p>Clélia had subjected Don Cesare to a rigorous +examination, without succeeding in discovering whence came the six +thousand francs received by Fabrice. In any case, it was a good +sign: it showed that the severity of his confinement was +relaxing.</p> +<p>The poison episode had a very favorable effect on our hero's +amatory enterprise: still, he could never extort anything at all +resembling a confession of love; but he had the felicity of living +on terms of intimacy with Clélia. Every morning, and often +at evening also, there was a long conversation with the alphabets; +every evening at nine o'clock Clélia received a lengthy +letter, and sometimes accorded it a few brief words of answer; she +sent him the daily paper and an occasional new book; finally, the +rugged Grillo had been so far tamed as to keep Fabrice supplied +with bread and wine, which were handed him daily by Clélia's +maid. This led honest Grillo to conclude that the Governor was not +of the same mind as those who had engaged Barbone to poison the +young Monsignor; at which he rejoiced exceedingly, as did his +comrades, for there was a saying current in the prison--"You have +only to look Monsignor del Dongo in the face; he is certain to give +you money."</p> +<p>Fabrice was very pale; lack of exercise was injuring his health: +but for all that he had never been so happy. The tone of the +conversation between Clélia and him was familiar and often +gay. The only moments of the girl's life not beset with dark +forebodings and remorse were those spent in conversing with him. +She was so thoughtless as to remark one day:--</p> +<p>"I admire your delicacy: because I am the Governor's daughter +you have nothing to say to me of the pleasures of freedom!"</p> +<p>"That's because I am not so absurd as to have aspirations in +that direction," replied Fabrice. "How often could I hope to see +you if I were living in Parma, a free man again? And life would not +be worth living if I could not tell you all my thoughts--no, not +that exactly: you take precious good care I don't tell you +<i>all</i> my thoughts! But in spite of your cruel tyranny, to live +without seeing you daily would be a far worse punishment than +captivity; in all my life I was never so happy! Isn't it strange to +think happiness was awaiting me in a prison?"</p> +<p>"There is a good deal to be said on that point," rejoined +Clélia, with an air that all at once became very serious, +almost threatening.</p> +<p>"What!" exclaimed Fabrice, in alarm, "am I in danger of losing +the small place I have won in your heart, my sole joy in this +world?"</p> +<p>"Yes," she replied. "Although your reputation in society is that +of a gentleman and gallant man, I have reason to believe you are +not acting ingenuously toward me. But I don't wish to discuss this +matter to-day."</p> +<p>This strange exordium cast an element of embarrassment into the +conversation, and tears were often in the eyes of both.</p> +<br> +<p>Copyrighted by George H. Richmond and Company.</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BILDERDIJK"></a> +<h2>WILLEM BILDERDIJK</h2> +<h3>(1756-1831)</h3> +<br> +<p class="par"><img src="images/letter-w.png" width="30%" alt= +""></p> +<p>illem Bilderdijk's personality, even more than his genius, +exerted so powerful an influence over his time that it has been +said that to think of a Dutchman of the late eighteenth and early +nineteenth century was to think of Bilderdijk. He stands as the +representative of the great literary and intellectual awakening +which took place in Holland immediately after that country became +part of the French empire. The history of literature has many +examples of how, under political disturbances, the agitated mind +has sought refuge in literary and scientific pursuits, and it +seemed at that time as if Dutch literature was entering a new +Golden Age. The country had never known better poets; but it was +the poetry of the eighteenth century, to quote Ten Brink, +"ceremonious and stagy."</p> +<p>In 'Herinnering van mijne Kindheit' (Reminiscences of My +Childhood), a book which is not altogether to be relied upon, +Bilderdijk gives a charming picture of his father, a physician in +Amsterdam, but speaks of his mother in less flattering terms. He +was born in Amsterdam in 1756. At an early age he suffered an +injury to his foot, a peasant boy having carelessly stepped on it; +attempts were made to cure him by continued bleedings, and the +result was that he was confined to his bed for twelve years. These +years laid the foundation of a character lacking in power to love +and to call forth love, and developing into an almost fierce +hypochondria, full of complaints and fears of death. In these +years, however, he acquired the information and the wonderful power +of language which appear in his sinewy verse.</p> +<p>One of his poems, dated 1770, has been preserved, but is +principally interesting as a first attempt. Others, written in his +twentieth year, were prize poems, and are sufficiently +characterized by their titles:--'Kunst wordt door Arbeid verkregen' +(Art came through Toil), and 'Inloed der Dichthunst op het Staets +bestuur' (Influence of Poetry on Statesmanship). When he went to +Leyden in 1780 to study law, he was already famous. His +examinations passed, he settled at the Hague to practice, and in +1785 married Katharina Rebekka Woesthoven. The following year he +published his romance, 'Elius,' in seven songs. The romance +ultimately became his favorite form of verse; but this was not the +form now called romance. It was the rhymed narrative of the +eighteenth century, written with endless care and reflection, and +in his case with so superior a treatment of language that no Dutch +poet since Huygens had approached it.</p> +<p>The year 1795 was the turning-point in Bilderdijk's life. He had +been brought up in unswerving faith in the cause of the house of +Orange, was a fanatic monarchist and Calvinist, +"anti-revolutionary, anti-Barneveldtian, anti-Loevesteinisch, +anti-liberal" (thus Da Costa), a warm supporter of William the +Fifth, and at the entrance of the French in 1795 he refused to give +his oath of allegiance to the cause of the citizens and the +sovereignty of the people. He was exiled, left the Hague, and went +to London, and later to Brunswick. This was not altogether a +misfortune for him, nor an unrelieved sorrow. He had been more +successful as poet than as husband or financier, and by his +compulsory banishment escaped his financial difficulties and what +he considered the chains of his married life. In London Bilderdijk +met his countryman the painter Schweikhardt; and with this meeting +begins a period of his life over which his admirers would fain draw +a veil. With Schweikhardt were his two daughters, of whom the +younger, Katherina Wilhelmina, became Bilderdijk's first pupil, +and, excepting his "intellectual son," Isaak da Costa, probably his +only one. Besides her great poetic gifts she possessed beauty and +charm. She fell in love with her teacher and followed him to +Brunswick, where she lived in his house under the name of Frau van +Heusden. In spite of this arrangement, the poet seems to have +considered himself a most faithful husband; and he did his best to +persuade his wife to join him with their children, but naturally +without success. In 1802 the marriage was legally annulled, and +Frau van Heusden took his name. She did her best to atone for the +blot on her repute by a self-sacrificing lovableness, and was in +close sympathy with Bilderdijk on the intellectual side. Like him +she was familiar with all the resources of the art of poetry. Most +famous of her poems are the long one 'Rodrigo de Goth,' and her +touching, graceful 'Gedichten voor Kinderen' (Poems for Children). +Bilderdijk's verses show what she was to him:--</p> +<blockquote>In the shadow of my verdure, firmly on my trunk +depending,<br> +Grew the tender branch of cedar, never longing once to leave +me;<br> +Faithfully through rain and tempest, modest at my side it +rested,<br> +Bearing to my honor solely the first twig it might its own +call;<br> +Fair the wreath thy flowers made me for my knotted trunk fast +withering,<br> +And my soul with pride was swelling at the crown of thy young +blossoms;<br> +Straight and strong and firmly rooted, tall and green thy head +arises,<br> +Bright the glory of its freshness; never yet by aught bedimmed.<br> +Lo! my crown to thine now bending, only thine the radiant +freshness,<br> +And my soul finds rest and comfort in thy sheltering +foliage.</blockquote> +<br> +<p>Meanwhile he was no better off materially. The Duke of +Brunswick, who had known him previously, received the famous Dutch +exile with open arms, and granted him a pension; but it never +sufficed. Many efforts were made to have his decree of exile +annulled; but they failed through his own peevish insolence and his +boundless ingratitude. King Louis (Bonaparte) of Holland extended +his protection to the dissatisfied old poet; and all these royal +gentlemen were most generous. When the house of Orange returned to +Holland, William I. continued the favor already shown him, obtained +a high pension for him, and when it proved insufficient, +supplemented it with gifts. In this way Bilderdijk's income in the +year 1816 amounted to twenty thousand gold pieces. That this should +be sufficient to keep the wolf from the door in a city like +Amsterdam, Bilderdijk thought too much to expect, and consequently +left in great indignation and went to Leyden in 1817.</p> +<p>But these personal troubles in no way interfered with his +talent. On the contrary, the history of literature has seldom known +so great an activity and productiveness; all in all, his works +amounted to almost a hundred volumes. What he accomplished during +his stay in Germany was almost incredible. He gave lessons to +exiled Dutch in a great variety of branches, he saw volume upon +volume through print; he wrote his famous 'Het Buitenleven' +(Country Life) after Delille, he translated Fingal after Ossian, he +wrote 'Vaderlandsche Orangezucht' (Patriotic Love for Orange). +After his return to Holland he wrote 'De Ziekte der Geleerden' (The +Disease of Genius: 1817), 'Leyden's Kamp' (Leyden's Battle: 1808), +and the first five songs of 'De Ondergang der eerste Wereld' +(Destruction of the First World: 1809), probably his masterpiece; +moreover, the dramas 'Floris V.,' 'Willem van Holland,' and +'Kounak.' The volumes published between 1815 and 1819 bore the +double signature Willem and Wilhelmina Katherina Bilderdijk.</p> +<p>But it was as though time had left him behind. The younger +Holland shook its head over the old gentleman of the past century, +with his antagonism for the poetry of the day and his rage against +Shakespeare and the latter's "puerile" 'King Lear.' For to +Bilderdijk even more than to Voltaire, Shakespeare was an +abomination. Then in 1830 he received the severest blow of his +life: Katherina Wilhelmina died. This happened in Haarlem, whither +he had gone in 1827. With this calamity his strength was broken and +his life at an end. He followed her in 1831.</p> +<p>He was in every way a son of the eighteenth century; he began as +a didactic and patriotic poet, and might at first be considered a +follower of Jakob Cats. He became principally a lyric poet, but his +lyric knew no deep sentiment, no suppressed feeling; its greatness +lay in its rhetorical power. His ode to Napoleon may therefore be +one of the best to characterize his genius. When he returned to his +native country after eleven years' exile, with heart and mind full +of Holland, it was old Holland he sought and did not find. He did +not understand young Holland. In spite of this, his fame and +powerful personality had an attraction for the young; but it was +the attraction of a past time, the fascination of the glorious +ruin. Young Holland wanted freedom, individual independence, and +this Bilderdijk considered a misfortune. "One should not let +children, women, and nations know that they possess other rights +than those naturally theirs. This matter must be a secret between +the prince and his heart and reason,--to the masses it ought always +to be kept as hidden as possible." The new age which had made its +entry with the cry of Liberty would not tolerate such sentiments, +and he stood alone, a powerful, demonic, but incomprehensible +spirit.</p> +<p>Aside from his fame as a poet, he deserves to be mentioned as +Jacob Grimm's correspondent, as philologist, philosopher, and +theologian.</p> +<br> +<a name="BILDERDIJK_01"></a> +<blockquote><b>ODE TO BEAUTY</b><br> +<br> +Child of the Unborn! dost thou bend<br> + From Him we in the day-beams see,<br> +Whose music with the breeze doth blend?--<br> + To feel thy presence is to be.<br> +Thou, our soul's brightest effluence--thou<br> +Who in heaven's light to earth dost bow,<br> + A Spirit 'midst unspiritual clods--<br> +Beauty! who bear'st the stamp profound<br> +Of Him with all perfection crowned,<br> + Thine image--thine alone--is God's....<br> +<br> +How shall I catch a single ray<br> + Thy glowing hand from nature wakes--<br> +Steal from the ether-waves of day<br> + One of the notes thy world-harp shakes--<br> +Escape that miserable joy,<br> +Which dust and self with darkness cloy,<br> + Fleeting and false--and, like a bird,<br> +Cleave the air-path, and follow thee<br> +Through thine own vast infinity,<br> + Where rolls the Almighty's thunder-word?<br> +<br> +Perfect thy brightness in heaven's sphere,<br> + Where thou dost vibrate in the bliss<br> +Of anthems ever echoing there!<br> + That, that is life--not this--not this:<br> +There in the holy, holy row--<br> +And not on earth, so deep below--<br> + Thy music unrepressed may speak;<br> +Stay, shrouded, in that holy place;--<br> +Enough that we have seen thy face,<br> + And kissed the smiles upon thy cheek.<br> +<br> +We stretch our eager hands to thee,<br> + And for thine influence pray in vain;<br> +The burden of mortality<br> + Hath bent us 'neath its heavy chain;--<br> +And there are fetters forged by art,<br> +And science cold hath chilled the heart,<br> + And wrapped thy god-like crown in night;<br> +On waxen wings they soar on high,<br> +And when most distant deem, thee nigh--<br> + They quench thy torch, and dream of light.<br> +<br> +Child of the Unborn! joy! for thou<br> + Shinest in every heavenly flame,<br> +Breathest in all the winds that blow,<br> + While self-conviction speaks thy name:<br> +Oh, let one glance of thine illume<br> +The longing soul that bids thee come,<br> + And make me feel of heaven, like thee!<br> +Shake from thy torch one blazing drop,<br> +And to my soul all heaven shall ope,<br> + And I--dissolve in melody!<br> +<br> +Translated in Westminster Review.</blockquote> +<br> +<br> +<a name="BILDERDIJK_02"></a> +<blockquote><b>FROM THE 'ODE TO NAPOLEON'</b><br> +<br> +Poesy, nay! Too long art silent!<br> +Seize now the lute! Why dost thou tarry?<br> +Let sword the Universe inherit,<br> +Noblest as prize of war be glory.<br> +Let thousand mouths sing hero-actions:<br> +E'en so, the glory is not uttered.<br> +Earth-gods--an endless life, ambrosial,<br> +Find they alone in song enchanting.<br> +<br> +Watch thou with care thy heedless fingers<br> +Striking upon the lyre so godlike;<br> +Hold thou in check thy lightning-flashes,<br> +That where they chance to fall are blighting.<br> +He who on eagle's wing soars skyward<br> +Must at the sun's bright barrier tremble.<br> +Frederic, though great in royal throning,<br> +Well may amaze the earth, and heaven,<br> +When clothed by thunder and the levin<br> +Swerves he before the hero's fanfare.<br> +<br> +<hr style="width: 25%;"> +<br> +<br> +Pause then, Imagination! Portals<br> +Hiding the Future, ope your doorways!<br> +Earth, the blood-drenched, yields palms and olives.<br> +Sword that hath cleft on bone and muscle,<br> +Spear that hath drunk the hero's lifeblood,<br> +Furrow the soil, as spade and ploughshare.<br> +Blasts that alarm from blaring trumpets<br> +Laws of fair Peace anon shall herald:<br> +Heaven's shame, at last, its end attaining.<br> +<br> +Earth, see, O see your sceptres bowing.<br> +Gone is the eagle once majestic;<br> +On us a cycle new is dawning;<br> +Look, from the skies it hath descended.<br> +O potent princes, ye the throne-born!<br> +See what Almighty will hath destined.<br> +Quit ye your seats, in low adoring,<br> +Set all the earth, with you, a-kneeling;<br> +Or--as the free-born men should perish--<br> +Sink in grave with crown and kingdom.<br> +<br> +Glorious in lucent rays, already<br> +Brighter than gold a sceptre shineth;<br> +No warring realm shall dim its lustre,<br> +No earth-storm veil its blaze to dimness.<br> +Can it be true that, centuries ended,<br> +God's endless realm, the Hebrew, quickens<br> +Lifting its horns--though not for always?<br> +Shines in the East the sun, like noonday?<br> +Shall Hagar's wandering sons be heartened<br> +After the Moslem's haughty baiting?<br> +<br> +Speed toward us, speed, O days so joyous!<br> +Even if blood your cost be reckoned;<br> +Speed as in Heaven's gracious favor,<br> +Bringing again Heaven's earthly kingdom.<br> +Yea, though through waters deep we struggle,<br> +Joining in fight with seas of troubles.<br> +Suffer we, bear we--hope--be silent!<br> +On us shall dawn a coming daybreak--<br> +With it, the world of men be happy!</blockquote> +<p>Translated in the metre of the original, by E. Irenæus +Stevenson, for the (World's Best Literature)</p> +<br> +<br> +<a name="BILDERDIJK_03"></a> +<blockquote><b>SLIGHTED LOVE</b><br> +<br> +AN ORIENTAL ROMANCE<br> +<br> +Splendid rose the star of evening, and the gray dusk was +a-fading.<br> +O'er it with a hand of mildness, now the Night her veil was +drawing:<br> +Abensaïd, valiant soldier, from Medina's ancient gateway,<br> +To the meadows, rich with blossoms, walked in darkest mood of +musing--<br> +Where the Guadalete's wild waves foaming wander through the flat +lands,<br> +Where, within the harbor's safety, loves to wait the weary +seaman.<br> +Neither hero's mood nor birth-pride eased his spirit of its +suffering<br> +For his youth's betrothed, Zobeïde; she it was who caused him +anguish.<br> +Faithless had she him forsaken, she sometime his best-beloved,<br> +Left him, though already parted by strange fate, from realm and +heirship.<br> +Oh, that destiny he girds not--strength it gave him, +hero-courage,<br> +Added to his lofty spirit, touches of nobler feeling--<br> +'Tis that she, ill-starred one, leaves him! takes the hand so +wrinkled<br> +Of that old man, Seville's conqueror!<br> +Into the night, along the river, Abensaïd now forth +rushes:<br> +Loudly to the rocky limits, Echo bears his lamentations.<br> +"Faithless maid, more faithless art thou than the sullen water!<br> +Harder thou than even the hardened bosom of yon rigid rockwall!<br> +Ah, bethinkest thou, Zobeïde, still upon our solemn +love-oath?<br> +How thy heart, this hour so faithless, once belonged to me, me +only?<br> +Canst thou yield thy heart, thy beauty, to that old man, dead to +love-thoughts?<br> +Wilt thou try to love the tyrant lacking love despite his +treasure?<br> +Dost thou deem the sands of desert higher than are +virtue--honor?<br> +Allah grant, then, that he hate thee! That thou lovest yet +another!<br> +That thou soon thyself surrender to the scorned one's bitter +feeling.<br> +Rest may night itself deny thee, and may day to thee be terror!<br> +Be thy face before thy husband as a thing of nameless loathing!<br> +May his eye avoid thee ever, flee the splendor of thy beauty!<br> +May he ne'er, in gladsome gathering, stretch his hand to thee for +partner!<br> +Never gird himself with girdle which for him thy hand +embroidered!<br> +Let his heart, thy love forsaking, in another love be fettered;<br> +The love-tokens of another may his scutcheon flame in battle,<br> +While behind thy grated windows year by year, away thou +mournest!<br> +To thy rival may he offer prisoners that his hand has taken!<br> +May the trophies of his victory on his knees to <i>her</i> be +proffered!<br> +May he hate thee! and thy heart's faith to him be but thing +accursed!<br> +These things, aye and more still! be thy cure for all my sting and +sorrow!"<br> +Silent now goes Abensaïd, unto Xeres, in the midnight;<br> +Dazzling shone the palace, lighted, festal for the loathsome +marriage,<br> +Richly-robed Moors were standing 'neath the shimmer of the +tapers,<br> +On the jubilant procession of the marriage-part proceeded.<br> +In the path stands Abensaïd, frowning, as the bridegroom nears +him;<br> +Strikes the lance into his bosom, with the rage of sharpest +vengeance.<br> +'Gainst the heaven rings a loud cry, those at hand their swords are +baring--<br> +But he rushes through the weapons, and in safety gains his own +hearth.</blockquote> +<br> +<p>Translation through the German, in the metre of the original, by +E. Irenæus Stevenson.</p> +<br> +<br> +<a name="BILDERDIJK_04"></a> +<blockquote><b>THE VILLAGE SCHOOLMASTER</b><a name= +"FNanchor17"></a><a href="#Footnote_17">[17]</a><br> +<br> +From "Country Life"<br> +<br> +There he sits; his figure and his rigid bearing<br> +Let us know most clearly what is his ideal:--<br> +Confidence in self, in his lofty standing;<br> +Thereto add conceit in his own great value.<br> +Certain, he can read--yes, and write and cipher;<br> +In the almanac no star-group's a stranger.<br> +In the church he, faithful, leads the pious chorus;<br> +Drums the catechism into young ones' noddles.<br> +Disputation to him's half the joy of living;<br> +Even though he's beaten, he will not give over.<br> +Watch him, when he talks, in how learned fashion!<br> +Drags on every word, spares no play of muscle.<br> +Ah, what pains he takes to forget no syllable--<br> +Consonants and vowels rightly weighed and measured.<br> +Often is he, too, of this and that a poet!<br> +Every case declines with precisest conscience;<br> +Knows the history of Church and State, together--<br> +Every Churchly light,--of pedant-deeds the record.<br> +All the village world speechless stands before him.<br> +Asking "How can <i>one</i> brain be so ruled by Wisdom?"<br> +Sharply, too, he looks down on one's transgressions.<br> +'Gainst his judgment stern, tears and prayers avail not.<br> +He appears--one glance (from a god that glance comes!)<br> +At a flash decides what the youngster's fate is.<br> +At his will a crowd runs, at his beck it parteth.<br> +Doth he smile? all frolic; doth he frown--all cower.<br> +By a tone he threatens, gives rewards, metes justice.<br> +Absent though he be, every pupil dreads him,<br> +For he sees, hears, knows, everything that's doing.<br> +On the urchin's forehead he can see it written.<br> +He divines who laughs, idles, yawns, or chatters,<br> +Who plays tricks on others, or in prayer-time's lazy.<br> +With its shoots, the birch-rod lying there beside him<br> +Knows how all misdeeds in a trice are settled.<br> +Surely by these traits you've our dorf-Dionysius!</blockquote> +<br> +<blockquote><a name="Footnote_17"></a><a href= +"#FNanchor17">[17]</a> Compare Goldsmith's famous portrait in<br> +"The Deserted Village".</blockquote> +<p>Translation through the German, in the meter of the original, by +E. Irenætis Stevenson, for the "World's Best Literature".</p> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BION"></a> +<h2>BION</h2> +<h3>(275 B.C.)</h3> +<br> +<p class="par"><img src="images/letter-o.png" width="30%" alt= +""></p> +<p>f Bion, the second of the Sicilian idyllists, of whom Theocritus +was the first and Moschus the third and last, but little knowledge +and few remains exist. He was born near Smyrna, says Suidas; and +from the elegy on his death, attributed to his pupil Moschus, we +infer that he lived in Sicily and died there of poison. "Say that +Bion the herdsman is dead," says the threnody, appealing to the +Sicilian muses, "and that song has died with Bion, and the Dorian +minstrelsy hath perished.... Poison came, Bion, to thy mouth. What +mortal so cruel as to mix poison for thee!" As Theocritus is also +mentioned in the idyl, Bion is supposed to have been his +contemporary, and to have flourished about 275 B. C.</p> +<p>Compared with Theocritus, his poetry is inferior in simplicity +and naïveté, and declines from the type which +Theocritus had established for the out-door, open-field idyl. With +Bion, bucolics first took on the air of the study. Although at +first this art and affectation were rarely discernible, they +finally led to the mold of brass in which for centuries Italian and +English pastorals were cast, and later to the complete devitalizing +which marks English pastoral poetry in the eighteenth century, with +the one exception of Allan Ramsay's "Gentle Shepherd". Theocritus +had sung with genuine feeling of trees and wandering winds, of +flowers and the swift mountain stream. His poetry has atmosphere; +it is vital with sunlight, color, and the beauty which is cool and +calm and true. Although Bion's poems possess elegance and +sweetness, and abound in pleasing imagery, they lack the +naturalness of the idyls of Theocritus. Reflection has crept into +them; they are in fact love-songs, with here and there a tinge of +philosophy,</p> +<p>The most famous as well as the most powerful and original of +Bion's poems remaining to us is the threnody upon Adonis. It was +doubtless composed in honor of the rites with which Greek women +celebrated certain Eastern festivals; for the worship of Adonis +still lingered among them, mixed with certain Syrian customs.</p> +<blockquote> + +"Thammuz came next behind,<br> +Whose annual wound in Lebanon allured<br> +The Syrian damsels to lament his fate<br> +In amorous ditties all a summer's day,<br> +While smooth Adonis from his native rock<br> +Ran purple to the sea, supposed with blood<br> +Of Thammuz yearly wounded."</blockquote> +<p>Thammuz is identified with Adonis. "We came to a fair large +river," writes an old English traveler, "doubtless the ancient +river Adonis, which at certain seasons of the year, especially +about the feast of Adonis, is of a bloody color, which the heathens +looked upon as proceeding from a kind of sympathy in the river for +the death of Adonis, who was killed by a wild boar in the mountains +out of which the stream issues. Something like this we saw actually +come to pass; for the water was stained to a surprising redness, +and, as we observed in traveling, had discolored the sea a great +way into a reddish hue, occasioned doubtless by a sort of minium, +or red earth, washed into the river by the violence of the +rain."</p> +<p>The poem is colored by the Eastern nature of its subject, and +its rapidity, vehemence, warmth, and unrestraint are greater than +the strict canon of Greek art allows. It is noteworthy, aside from +its varied beauties, because of its fine abandonment to grief and +its appeal for recognition of the merits of the dead youth it +celebrates. Bion's threnody has undoubtedly become a criterion and +given the form to some of the more famous "songs of tears". The +laudatory clegy of Moschus for his master--we say of Moschus, +although Ahrens, in his recension, includes the lament under +'Incertorum Idyllia' at the end of 'Moschi Reliquiæ'--follows +it faithfully. Milton in his great ode of 'Lycidas' does not depart +from the Greek lines; and Shelley, lamenting Keats in his +'Adonaïs,' reverts still more closely to the first master, +adding perhaps an element of artificiality one does not find in +other threnodies. The broken and extended form of Tennyson's +celebration of Arthur Hallam takes it out of a comparison with the +Greek; but the monody of 'Thyrsis', Matthew Arnold's commemoration +of Clough, approaches nearer the Greek. Yet no other lament has the +energy and rapidity of Bion's; the refrain, the insistent +repetition of the words "I wail for Adonis",--"Alas for Cypris!" +full of pathos and unspoken irrepressible woe, is used only by his +pupil Moschus, though hinted at by Milton.</p> +<p>The peculiar rhythm, the passion and delicate finish of the +song, have attracted a number of translators, among whose versions +Mrs. Browning's 'The Lament for Adonis' is considered the best. The +subjoined version in the Spenserian stanza, by Anna C. Brackett, +follows its model closely in its directness and fervor of +expression, and has moreover in itself genuine poetic merit. The +translation of a fragment of 'Hesperos' is that of J.A. Symonds. +Bion's fluent and elegant versification invites study, and his few +idyls and fragments have at various times been turned into English +by Fawkes (to be found in Chalmers's 'Works of English Poets'), +Polwhele, Banks, Chapman, and others.</p> +<br> +<a name="BION_01"></a> +<blockquote><b>THRENODY</b><br> +<br> +I weep for Adonaïs--he is dead!<br> + Dead Adonaïs lies, and mourning all,<br> +The Loves wail round his fair, low-lying head.<br> + O Cypris, sleep no more! Let from thee fall<br> +Thy purple vestments--hear'st thou not the call?<br> + Let fall thy purple vestments! Lay them by!<br> +Ah, smite thy bosom, and in sable pall<br> + Send shivering through the air thy bitter cry<br> +For Adonaïs dead, while all the Loves reply.<br> +<br> + I weep for Adonaïs--weep the Loves.<br> + Low on the mountains beauteous +lies he there,<br> + And languid through his lips the faint breath +moves,<br> + And black the blood creeps o'er +his smooth thigh, where<br> + The boar's white tooth the +whiter flesh must tear.<br> + Glazed grow his eyes beneath the eyelids wide;<br> + Fades from his lips the rose, +and dies--Despair!<br> + The clinging kiss of Cypris at his side--<br> +Alas, he knew not that she kissed him as he died!<br> +<br> + I wail--responsive wail the Loves with me.<br> + Ah, cruel, cruel is that wound +of thine,<br> + But Cypris' heart-wound aches more bitterly.<br> + The Oreads weep; thy faithful +hounds low whine;<br> + But Cytherea's unbound tresses +fine<br> + Float on the wind; where thorns her white feet +wound,<br> + Along the oaken glades drops +blood divine.<br> + She calls her lover; he, all crimsoned round<br> +His fair white breast with blood, hears not the piteous sound.<br> +<br> + Alas! for Cytherea wail the Loves,<br> + With the beloved dies her +beauty too.<br> + O fair was she, the goddess borne of doves,<br> + While Adonaïs lived; but +now, so true<br> + Her love, no time her beauty +can renew.<br> + Deep-voiced the mountains mourn; the oaks reply;<br> + And springs and rivers murmur +sorrow through<br> + The passes where she goes, the cities high;<br> +And blossoms flush with grief as she goes desolate by.<br> +<br> + Alas for Cytherea! he hath died--<br> + The beauteous Adonaïs, he +is dead!<br> + And Echo sadly back "<i>is dead</i>" replied.<br> + Alas for Cypris! Stooping low +her head,<br> + And opening wide her arms, she +piteous said,<br> + "O stay a little, Adonaïs mine!<br> + Of all the kisses ours since we +were wed,<br> + But one last kiss, oh, give me now, and twine<br> +Thine arms close, till I drink the latest breath of thine!<br> +<br> + "So will I keep the kiss thou givest me<br> + E'en as it were thyself, thou +only best!<br> + Since thou, O Adonaïs, far dost flee--<br> + Oh, stay a little--leave a +little rest!--<br> + And thou wilt leave me, and +wilt be the guest<br> + Of proud Persephone, more +strong than I?<br> + All beautiful obeys her dread +behest--<br> + And I a goddess am, and <i>cannot</i> die!<br> +O thrice-beloved, listen!--mak'st thou no reply?<br> +<br> + "Then dies to idle air my longing wild,<br> + As dies a dream along the paths +of night;<br> + And Cytherea widowed is, exiled<br> + From love itself; and now--an +idle sight--<br> + The Loves sit in my halls, and +all delight<br> + My charmèd girdle moves, is all undone!<br> + Why wouldst thou, rash one, +seek the maddening fight?<br> + Why, beauteous, wouldst thou not the combat +shun?"--<br> +Thus Cytherea--and the Loves weep, all as one.<br> +<br> + Alas for Cytherea!--he is dead.<br> + Her hopeless sorrow breaks in +tears, that rain<br> + Down over all the fair, beloved head,--<br> + Like summer showers, o'er +wind-down-beaten grain;<br> + They flow as fast as flows the +crimson stain<br> + From out the wound, deep in the stiffening thigh;<br> + And lo! in roses red the blood +blooms fair,<br> + And where the tears divine have fallen close by,<br> +Spring up anemones, and stir all tremblingly.<br> +<br> + I weep for Adonaïs--he is dead!<br> + No more, O Cypris, weep thy +wooer here!<br> + Behold a bed of leaves! Lay down his head<br> + As if he slept--as still, as +fair, as dear,--<br> + In softest garments let his +limbs appear,<br> + As when on golden couch his sweetest sleep<br> + He slept the livelong night, +thy heart anear;<br> + Oh, beautiful in death though sad he keep,<br> +No more to wake when Morning o'er the hills doth creep.<br> +<br> + And over him the freshest flowers fling--<br> + Ah me! all flowers are withered +quite away<br> + And drop their petals wan! yet, perfumes bring<br> + And sprinkle round, and +sweetest balsams lay;--<br> + Nay, perish perfumes since +thine shall not stay!<br> + In purple mantle lies he, and around,<br> + The weeping Loves his weapons +disarray,<br> + His sandals loose, with water bathe his wound,<br> +And fan him with soft wings that move without a sound.<br> +<br> + The Loves for Cytherea raise the wail.<br> + Hymen from quenched torch no +light can shake.<br> + His shredded wreath lies withered all and pale;<br> + His joyous song, alas, harsh +discords break!<br> + And saddest wail of all, the +Graces wake;<br> + "The beauteous Adonaïs! He is dead!"<br> + And sigh the Muses, "Stay but +for our sake!"<br> + Yet would he come, Persephone is dead;--<br> +Cease, Cypris! Sad the days repeat their faithful tread!<br> +<br> +Paraphrase of Anna C. Brackett, in Journal of Speculative +Philosophy.</blockquote> +<br> +<br> +<a name="BION_02"></a> +<blockquote><b>HESPER</b><br> +<br> +Hesper, thou golden light of happy love,<br> +Hesper, thou holy pride of purple eve,<br> +Moon among stars, but star beside the moon,<br> +Hail, friend! and since the young moon sets to-night<br> +Too soon below the mountains, lend thy lamp<br> +And guide me to the shepherd whom I love.<br> +No theft I purpose; no wayfaring man<br> +Belated would I watch and make my prey:<br> +Love is my goal; and Love how fair it is,<br> +When friend meets friend sole in the silent night,<br> +Thou knowest, Hesper!</blockquote> +<br> +<br> +<hr style="width: 35%;"> +<br> +<br> +<a name="BIRRELL"></a> +<h2>AUGUSTINE BIRRELL</h2> +<h3>(1850-)</h3> +<br> +<p class="par"><img src="images/letter-t.png" width="30%" alt= +""></p> +<p>hose to whom the discovery of a relishing new literary flavor +means the permanent annexation of a new tract of enjoyment have not +forgotten what happened in 1885. A slender 16mo volume entitled +"Obiter Dicta", containing seven short literary and biographic +essays, came out in that year, anonymous and unheralded, to make +such way as it might among a book-whelmed generation. It had no +novelty of subject to help it to a hearing; the themes were largely +the most written-out, in all seeming, that could have been +selected,--a few great orthodox names on which opinion was closed +and analysis exhausted. Browning, Carlyle, Charles Lamb, and John +Henry Newman are indeed very beacons to warn off the sated bookman. +A paper on Benvenuto Cellini, one on Actors, and one on Falstaff +(by another hand) closed the list. Yet a few weeks made it the +literary event of the day. Among epicures of good reading the word +swiftly passed along that here was a new sensation of unusually +satisfying charm and freshness. It was a <i>tour de force</i> like +the "Innocents Abroad", a journey full of new sights over the most +staled and beaten of tracks. The triumph was all the author's +own.</p> +<p class="lft"><img src="images/image-476.png" width="45%" alt= +""><br> +<b>Augustine Birrell.</b></p> +<p>Two years later came another volume as a "Second Series", of the +same general character but superior to the first. Among the +subjects of its eleven papers were Milton, Pope, Johnson, Burke, +Lamb again, and Emerson; with some general essays, including that +on "The Office of Literature", given below.</p> +<p>In 1892 appeared "Res Judicatæ", really a third volume of +the same series, and perhaps even richer in matter and more acute +and original in thought. Its first two articles, prepared as +lectures on Samuel Richardson and Edward Gibbon, are indeed his +high-water, mark in both substance and style. Cowper, George +Borrow, Newman again, Lamb a third time (and fresh as ever), +Hazlitt, Matthew Arnold, and Sainte-Beuve are brought in, and some +excellent literary miscellanea.</p> +<p>A companion volume called 'Men, Women, and Books' is +disappointing because composed wholly of short newspaper articles: +Mr. Birrell's special quality needs space to make itself felt. He +needs a little time to get up steam, a little room to unpack his +wares; he is no pastel writer, who can say his say in a paragraph +and runs dry in two. Hence these snippy editorials do him no +justice: he is obliged to stop every time just as he is getting +ready to say something worth while. They are his, and therefore +readable and judicious; but they give no idea of his best +powers.</p> +<p>He has also written a life of Charlotte Brontë. But he +holds his place in the front rank of recent essayists by the three +'Obiter Dicta' and 'Res Judicatæ' volumes of manly, luminous, +penetrating essays, full of racy humor and sudden wit; of a +generous appreciativeness that seeks always for the vital principle +which gave the writer his hold on men; still more, of a warm +humanity and a sure instinct for all the higher and finer things of +the spirit which never fail to strike chords in the heart as well +as the brain. No writer's work leaves a better taste in the mouth; +he makes us think better of the world, of righteousness, of +ourselves. Yet no writer is less of a Puritan or a Philistine; none +writes with less of pragmatic purpose or a less obtrusive load of +positive fact. He scorns such overladen pedantry, and never loses a +chance to lash it. He tells us that he has "never been inside the +reading-room of the British Museum," and "expounds no theory save +the unworthy one that literature ought to please." He says the one +question about a book which is to be part of <i>literature</i> is, +"Does it read?" that "no one is under any obligation to read any +one else's book," and therefore it is a writer's business to make +himself welcome to readers; that he does not care whether an author +was happy or not, he wants the author to make him happy. He puts +his theory in practice: he makes himself welcome as a companion at +once stimulating and restful, of humane spirit and elevated ideals, +of digested knowledge and original thought, of an insight which is +rarely other than kindly and a deep humor which never lapses into +cynicism.</p> +<p>Mr. Birrell helps to justify Walter Bagehot's dictum that the +only man who can write books well is one who knows practical life +well; but still there are congruities in all things, and one feels +a certain shock of incongruity in finding that this man of books +and purveyor of light genial book-talk, who can hardly write a line +without giving it a quality of real literary savor, is a prominent +lawyer and member of Parliament, and has written a law book which +ranks among recognized legal authorities. This is a series of +lectures delivered in 1896, and collected into a volume on 'The +Duties and Liabilities of Trustees.' But some of the surprise +vanishes on reading the book: even as 'Alice in Wonderland' shows +on every page the work of a logician trained to use words precisely +and criticize their misuse, so in exactly the opposite way this +book is full of the shrewd judgment, the knowledge of life, and +even the delightful humor which form so much of Birrell's best +equipment for a man of letters.</p> +<p>Mr. Birrell's work is not merely good reading, but is a mental +clarifier and tonic. We are much better critics of other writers +through his criticisms on his selected subjects. After every +reading of 'Obiter Dicta' we feel ashamed of crass and petty +prejudice, in the face of his lessons in disregarding surface +mannerisms for the sake of vital qualities. Only in one case does +he lose his impartiality: he so objects to treating Emerson with +fairness that he even goes out of his way to berate his idol +Matthew Arnold for setting Emerson aloft. But what he says of +George Borrow is vastly more true of himself: he is one of the +writers we cannot afford to be angry with.</p> +<br> +<a name="BIRRELL_01"></a> +<center><b>DR. JOHNSON</b></center> +<br> +<p>"Criticism," writes Johnson in the 60th Idler, "is a study by +which men grow important and formidable at a very small expense. +The power of invention has been conferred by nature upon few, and +the labor of learning those sciences which may by mere labor be +obtained, is too great to be willingly endured: but every man can +exert such judgment as he has upon the works of others; and he whom +nature has made weak, and idleness keeps ignorant, may yet support +his vanity by the name of a critick."</p> +<p>To proceed with our task by the method of comparison is to +pursue a course open to grave objection; yet it is forced upon us +when we find, as we lately did, a writer in the Times newspaper, in +the course of a not very discriminating review of Mr. Froude's +recent volumes, casually remarking, as if it admitted of no more +doubt than the day's price of consols, that Carlyle was a greater +man than Johnson. It is a good thing to be positive. To be positive +in your opinions and selfish in your habits is the best recipe, if +not for happiness, at all events for that far more attainable +commodity, comfort, with which we are acquainted. "A noisy man," +sang poor Cowper, who could not bear anything louder than the +hissing of a tea-urn, "a noisy man is always in the right," and a +positive man can seldom be proved wrong. Still, in literature it is +very desirable to preserve a moderate measure of independence, and +we therefore make bold to ask whether it is as plain as the "old +hill of Howth" that Carlyle was a greater man than Johnson? Is not +the precise contrary the truth? No abuse of Carlyle need be looked +for, here or from me. When a man of genius and of letters happens +to have any striking virtues, such as purity, temperance, honesty, +the novel task of dwelling on them has such attraction for us that +we are content to leave the elucidation of his faults to his +personal friends, and to stern, unbending moralists like Mr. Edmund +Yates and the World newspaper. To love Carlyle is, thanks to Mr. +Froude's superhuman ideal of friendship, a task of much heroism, +almost meriting a pension; still it is quite possible for the +candid and truth-loving soul. But a greater than Johnson he most +certainly was not.</p> +<p>There is a story in Boswell of an ancient beggar-woman who, +whilst asking an alms of the Doctor, described herself to him, in a +lucky moment for her pocket, as "an old struggler." Johnson, his +biographer tells us, was visibly affected. The phrase stuck to his +memory, and was frequently applied to himself. "I too," so he would +say, "am an old struggler." So too, in all conscience, was Carlyle. +The struggles of Johnson have long been historical; those of +Carlyle have just become so. We are interested in both. To be +indifferent would be inhuman. Both men had great endowments, +tempestuous natures, hard lots. They were not amongst Dame +Fortune's favorites. They had to fight their way. What they took +they took by storm. But--and here is a difference indeed--Johnson +came off victorious, Carlyle did not.</p> +<p>Boswell's book is an arch of triumph, through which, as we read, +we see his hero passing into eternal fame, to take up his place +with those--</p> +<blockquote>"Dead but sceptred sovereigns who still rule<br> + Our spirits from their urns."</blockquote> +<p>Froude's book is a tomb over which the lovers of Carlyle's +genius will never cease to shed tender but regretful tears.</p> +<p>We doubt whether there is in English literature a more +triumphant book than Boswell's. What materials for tragedy are +wanting? Johnson was a man of strong passions, unbending spirit, +violent temper, as poor as a church-mouse, and as proud as the +proudest of Church dignitaries; endowed with the strength of a +coal-heaver, the courage of a lion, and the tongue of Dean Swift, +he could knock down booksellers and silence bargees; he was +melancholy almost to madness, "radically wretched," indolent, +blinded, diseased. Poverty was long his portion; not that genteel +poverty that is sometimes behindhand with its rent, but that hungry +poverty that does not know where to look for its dinner. Against +all these things had this "old struggler" to contend; over all +these things did this "old struggler" prevail. Over even the fear +of death, the giving up of "this intellectual being," which had +haunted his gloomy fancy for a lifetime, he seems finally to have +prevailed, and to have met his end as a brave man should.</p> +<p>Carlyle, writing to his wife, says, and truthfully enough, "The +more the devil worries me the more I wring him by the nose;" but +then if the devil's was the only nose that was wrung in the +transaction, why need Carlyle cry out so loud? After buffeting +one's way through the storm-tossed pages of Froude's (Carlyle,)--in +which the universe is stretched upon the rack because food +disagrees with man and cocks crow,--with what thankfulness and +reverence do we read once again the letter in which Johnson tells +Mrs. Thrale how he has been called to endure, not dyspepsia or +sleeplessness, but paralysis itself:--</p> +<p>"On Monday I sat for my picture, and walked a considerable way +with little inconvenience. In the afternoon and evening I felt +myself light and easy, and began to plan schemes of life. Thus I +went to bed, and in a short time waked and sat up, as has long been +my custom; when I felt a confusion in my head which lasted, I +suppose, about half a minute; I was alarmed, and prayed God that +however much He might afflict my body He would spate my +understanding.... Soon after I perceived that I had suffered a +paralytic stroke, and that my speech was taken from me. I had no +pain, and so little dejection in this dreadful state that I +wondered at my own apathy, and considered that perhaps death +itself, when it should come, would excite less horror than seems +now to attend it. In order to rouse the vocal organs I took two +drams.... I then went to bed, and strange as it may seem I think +slept. When I saw light it was time I should contrive what I should +do. Though God stopped my speech, He left me my hand. I enjoyed a +mercy which was not granted to my dear friend Lawrence, who now +perhaps overlooks me as I am writing, and rejoices that I have what +he wanted. My first note was necessarily to my servant, who came in +talking, and could not immediately comprehend why he should read +what I put into his hands.... How this will be received by you I +know not. I hope you will sympathize with me; but perhaps</p> +<blockquote>"'My mistress, gracious, mild, and good,<br> + Cries--Is he dumb? 'Tis time he should.'</blockquote> +<p>"I suppose you may wish to know how my disease is treated by the +physicians. They put a blister upon my back, and two from my ear to +my throat, one on a side. The blister on the back has done little, +and those on the throat have not risen. I bullied and bounced (it +sticks to our last sand), and compelled the apothecary to make his +salve according to the Edinburgh dispensatory, that it might adhere +better. I have now two on my own prescription. They likewise give +me salt of hartshorn, which I take with no great confidence; but I +am satisfied that what can be done is done for me. I am almost +ashamed of this querulous letter, but now it is written let it +go."</p> +<p>This is indeed tonic and bark for the mind.</p> +<p>If, irritated by a comparison that ought never to have been +thrust upon us, we ask why it is that the reader of Boswell finds +it as hard to help loving Johnson as the reader of Froude finds it +hard to avoid disliking Carlyle, the answer must be that whilst the +elder man of letters was full to overflowing with the milk of human +kindness, the younger one was full to overflowing with something +not nearly so nice; and that whilst Johnson was pre-eminently a +reasonable man, reasonable in all his demands and expectations, +Carlyle was the most unreasonable mortal that ever exhausted the +patience of nurse, mother, or wife.</p> +<p>Of Dr. Johnson's affectionate nature nobody has written with +nobler appreciation than Carlyle himself. "Perhaps it is this +Divine feeling of affection, throughout manifested, that +principally attracts us to Johnson. A true brother of men is he, +and filial lover of the earth."</p> +<p>The day will come when it will be recognized that Carlyle, as a +critic, is to be judged by what he himself corrected for the press, +and not by splenetic entries in diaries, or whimsical extravagances +in private conversation.</p> +<p>Of Johnson's reasonableness nothing need be said, except that it +is patent everywhere. His wife's judgment was a sound one--"He is +the most sensible man I ever met."</p> +<p>As for his brutality, of which at one time we used to hear a +great deal, we cannot say of it what Hookham Frere said of Lander's +immorality, that it was--</p> +<blockquote>"Mere imaginary classicality<br> +Wholly devoid of criminal reality."</blockquote> +<p>It was nothing of the sort. Dialectically the great Doctor was a +great brute. The fact is, he had so accustomed himself to wordy +warfare that he lost all sense of moral responsibility, and cared +as little for men's feelings as a Napoleon did for their lives. +When the battle was over, the Doctor frequently did what no soldier +ever did that I have heard tell of,--apologized to his victims and +drank wine or lemonade with them. It must also be remembered that +for the most part his victims sought him out. They came to be +tossed and gored. And after all, are they so much to be pitied? +They have our sympathy, and the Doctor has our applause. I am not +prepared to say, with the simpering fellow with weak legs whom +David Copperfield met at Mr. Waterbrook's dinner-table, that I +would sooner be knocked down by a man with blood than picked up by +a man without any; but, argumentatively speaking, I think it would +be better for a man's reputation to be knocked down by Dr. Johnson +than picked up by Mr. Froude.</p> +<p>Johnson's claim to be the best of our talkers cannot, on our +present materials, be contested. For the most part we have only +talk about other talkers. Johnson's is matter of record. Carlyle no +doubt was a great talker--no man talked against talk or broke +silence to praise it more eloquently than he, but unfortunately +none of it is in evidence. All that is given us is a sort of +Commination Service writ large. We soon weary of it. Man does not +live by curses alone.</p> +<p>An unhappier prediction of a boy's future was surely never made +than that of Johnson's by his cousin, Mr. Cornelius Ford, who said +to the infant Samuel, "You will make your way the more easily in +the world as you are content to dispute no man's claim to +conversation excellence, and they will, therefore, more willingly +allow your pretensions as a writer." Unfortunate Mr. Ford! The man +never breathed whose claim to conversation excellence Dr. Johnson +did not dispute on every possible occasion; whilst, just because he +was admittedly so good a talker, his pretensions as a writer have +been occasionally slighted.</p> +<p>Johnson's personal character has generally been allowed to stand +high. It, however, has not been submitted to recent tests. To be +the first to "smell a fault" is the pride of the modern biographer. +Boswell's artless pages afford useful hints not lightly to be +disregarded. During some portion of Johnson's married life he had +lodgings, first at Greenwich, afterwards at Hampstead. But he did +not always go home o' nights; sometimes preferring to roam the +streets with that vulgar ruffian Savage, who was certainly no fit +company for him. He once actually quarreled with Tetty, who, +despite her ridiculous name, was a very sensible woman with a very +sharp tongue, and for a season, like stars, they dwelt apart. Of +the real merits of this dispute we must resign ourselves to +ignorance. The materials for its discussion do not exist; even +Croker could not find them. Neither was our great moralist as sound +as one would have liked to see him in the matter of the payment of +small debts. When he came to die, he remembered several of these +outstanding accounts; but what assurance have we that he remembered +them all? One sum of £10 he sent across to the honest fellow +from whom he had borrowed it, with an apology for his delay; which, +since it had extended over a period of twenty years, was not +superfluous. I wonder whether he ever repaid Mr. Dilly the guinea +he once borrowed of him to give to a very small boy who had just +been apprenticed to a printer. If he did not, it was a great shame. +That he was indebted to Sir Joshua in a small loan is apparent from +the fact that it was one of his three dying requests to that great +man that he should release him from it, as, of course, the most +amiable of painters did. The other two requests, it will be +remembered, were to read his Bible, and not to use his brush on +Sundays. The good Sir Joshua gave the desired promises with a full +heart, for these two great men loved one another; but subsequently +discovered the Sabbatical restriction not a little irksome, and +after a while resumed his former practice, arguing with himself +that the Doctor really had no business to extract any such promise. +The point is a nice one, and perhaps ere this the two friends have +met and discussed it in the Elysian fields. If so, I hope the +Doctor, grown "angelical," kept his temper with the mild shade of +Reynolds better than on the historical occasion when he discussed +with him the question of "strong drinks."</p> +<p>Against Garrick, Johnson undoubtedly cherished a smoldering +grudge, which, however, he never allowed any one but himself to fan +into flame. His pique was natural. Garrick had been his pupil at +Edial, near Lichfield; they had come up to town together with an +easy united fortune of fourpence--"current coin o' the realm." +Garrick soon had the world at his feet and garnered golden grain. +Johnson became famous too, but remained poor and dingy. Garrick +surrounded himself with what only money can buy, good pictures and +rare books. Johnson cared nothing for pictures--how should he? he +could not see them; but he did care a great deal about books, and +the pernickety little player was chary about lending his splendidly +bound rarities to his quondam preceptor. Our sympathies in this +matter are entirely with Garrick; Johnson was one of the best men +that ever lived, but not to lend books to. Like Lady Slattern, he +had a "most observant thumb." But Garrick had no real cause for +complaint. Johnson may have soiled his folios and sneered at his +trade, but in life Johnson loved Garrick, and in death embalmed his +memory in a sentence which can only die with the English +language:--"I am disappointed by that stroke of death which has +eclipsed the gayety of nations, and impoverished the public stock +of harmless pleasure."</p> +<p>Will it be believed that puny critics have been found to quarrel +with this colossal compliment on the poor pretext of its falsehood? +Garrick's death, urge these dullards, could not possibly have +eclipsed the gayety of nations, since he had retired from the stage +months previous to his demise. When will mankind learn that +literature is one thing, and sworn testimony another? ...</p> +<p>Johnson the author is not always fairly treated. Phrases are +convenient things to hand about, and it is as little the custom to +inquire into their truth as it is to read the letterpress on +bank-notes. We are content to count bank-notes and to repeat +phrases. One of these phrases is, that whilst everybody reads +Boswell, nobody reads Johnson. The facts are otherwise. Everybody +does not read Boswell, and a great many people do read Johnson. If +it be asked, What do the general public know of Johnson's nine +volumes octavo? I reply, Beshrew the general public! What in the +name of the Bodleian has the general public got to do with +literature? The general public subscribes to Mudie, and has its +intellectual, like its lacteal sustenance, sent round to it in +carts. On Saturdays these carts, laden with "recent works in +circulation," traverse the Uxbridge Road; on Wednesdays they toil +up Highgate Hill, and if we may believe the reports of travelers, +are occasionally seen rushing through the wilds of Camberwell and +bumping over Blackheath. It is not a question of the general +public, but of the lover of letters. Do Mr. Browning, Mr. Arnold, +Mr. Lowell, Mr. Trevelyan, Mr. Stephen, Mr. Morley, know their +Johnson? "To doubt would be disloyalty." And what these big men +know in their big way, hundreds of little men know in their little +way. We have no writer with a more genuine literary flavor about +him than the great Cham of literature. No man of letters loved +letters better than he. He knew literature in all its branches--he +had read books, he had written books, he had sold books, he had +bought books, and he had borrowed them. Sluggish and inert in all +other directions, he pranced through libraries. He loved a +catalogue; he delighted in an index. He was, to employ a happy +phrase of Dr. Holmes, at home amongst books as a stable-boy is +amongst horses. He cared intensely about the future of literature +and the fate of literary men. "I respect Millar," he once +exclaimed; "he has raised the price of literature." Now Millar was +a Scotchman. Even Horne Tooke was not to stand in the pillory: "No, +no, the dog has too much literature for that." The only time the +author of 'Rasselas' met the author of the 'Wealth of Nations' +witnessed a painful scene. The English moralist gave the Scotch one +the lie direct, and the Scotch moralist applied to the English one +a phrase which would have done discredit to the lips of a +costermonger; but this notwithstanding, when Boswell reported that +Adam Smith preferred rhyme to blank verse, Johnson hailed the news +as enthusiastically as did Cedric the Saxon the English origin of +the bravest knights in the retinue of the Norman king. "Did Adam +say that?" he shouted: "I love him for it. I could hug him!" +Johnson no doubt honestly believed he held George III. in +reverence, but really he did not care a pin's fee for all the +crowned heads of Europe. All his reverence was reserved for "poor +scholars." When a small boy in a wherry, on whom had devolved the +arduous task of rowing Johnson and his biographer across the +Thames, said he would give all he had to know about the Argonauts, +the Doctor was much pleased, and gave him, or got Boswell to give +him, a double fare. He was ever an advocate of the spread of +knowledge amongst all classes and both sexes. His devotion to +letters has received its fitting reward, the love and respect of +all "lettered hearts."</p> +<br> +<a name="BIRRELL_02"></a> +<center><b>THE OFFICE OF LITERATURE</b></center> +<br> +<p>Dr. John Brown's pleasant story has become well known, of the +countryman who, being asked to account for the gravity of his dog, +replied, "Oh, sir! life is full of sairiousness to him--he can just +never get eneugh o' fechtin'." Something of the spirit of this +saddened dog seems lately to have entered into the very people who +ought to be freest from it,--our men of letters. They are all very +serious and very quarrelsome. To some of them it is dangerous even +to allude. Many are wedded to a theory or period, and are the most +uxorious of husbands--ever ready to resent an affront to their +lady. This devotion makes them very grave, and possibly very happy +after a pedantic fashion. One remembers what Hazlitt, who was +neither happy nor pedantic, has said about pedantry:--</p> +<p>"The power of attaching an interest to the most trifling or +painful pursuits is one of the greatest happinesses of our nature. +The common soldier mounts the breach with joy, the miser +deliberately starves himself to death, the mathematician sets about +extracting the cube-root with a feeling of enthusiasm, and the +lawyer sheds tears of delight over 'Coke upon Lyttleton.' He who is +not in some measure a pedant, though he may be a wise, cannot be a +very happy man."</p> +<p>Possibly not; but then we are surely not content that our +authors should be pedants in order that they may be happy and +devoted. As one of the great class for whose sole use and behalf +literature exists,--the class of readers,--I protest that it is to +me a matter of indifference whether an author is happy or not. I +want him to make me happy. That is his office. Let him discharge +it.</p> +<p>I recognize in this connection the corresponding truth of what +Sydney Smith makes his Peter Plymley say about the private virtues +of Mr. Perceval, the Prime Minister:--</p> +<p>"You spend a great deal of ink about the character of the +present Prime Minister. Grant all that you write--I say, I fear +that he will ruin Ireland, and pursue a line of policy destructive +to the true interests of his country; and then you tell me that he +is faithful to Mrs. Perceval and kind to the Master Percevals. I +should prefer that he whipped his boys and saved his country."</p> +<p>We should never confuse functions or apply wrong tests. What can +books do for us? Dr. Johnson, the least pedantic of men, put the +whole matter into a nut-shell (a cocoa-nut shell, if you +will--Heaven forbid that I should seek to compress the great Doctor +within any narrower limits than my metaphor requires) when he wrote +that a book should teach us either to enjoy life or endure it. +"Give us enjoyment!" "Teach us endurance!" Hearken to the ceaseless +demand and the perpetual prayer of an ever unsatisfied and always +suffering humanity!</p> +<p>How is a book to answer the ceaseless demand?</p> +<p>Self-forgetfulness is the essence of enjoyment, and the author +who would confer pleasure must possess the art, or know the trick, +of destroying for the time the reader's own personality. +Undoubtedly the easiest way of doing this is by the creation of a +host of rival personalities--hence the number and the popularity of +novels. Whenever a novelist fails, his book is said to flag; that +is, the reader suddenly (as in skating) comes bump down upon his +own personality, and curses the unskillful author. No lack of +characters, and continual motion, is the easiest recipe for a +novel, which like a beggar should always be kept "moving on." +Nobody knew this better than Fielding, whose novels, like most good +ones, are full of inns.</p> +<p>When those who are addicted to what is called "improving +reading" inquire of you petulantly why you cannot find change of +company and scene in books of travel, you should answer cautiously +that when books of travel are full of inns, atmosphere, and motion, +they are as good as any novel; nor is there any reason in the +nature of things why they should not always be so, though +experience proves the contrary.</p> +<p>The truth or falsehood of a book is immaterial. George Borrow's +'Bible in Spain' is, I suppose, true; though now that I come to +think of it in what is to me a new light, one remembers that it +contains some odd things. But was not Borrow the accredited agent +of the British and Foreign Bible Society? Did he not travel (and he +had a free hand) at their charges? Was he not befriended by our +minister at Madrid, Mr. Villiers, subsequently Earl of Clarendon in +the peerage of England? It must be true: and yet at this moment I +would as lief read a chapter of the 'Bible in Spain' as I would +'Gil Bias'; nay, I positively would give the preference to +Señor Giorgio. Nobody can sit down to read Borrow's books +without as completely forgetting himself as if he were a boy in the +forest with Gurth and Wamba.</p> +<p>Borrow is provoking and has his full share of faults, and though +the owner of a style, is capable of excruciating offences. His +habitual use of the odious word "individual" as a noun-substantive +(seven times in three pages of 'The Romany Rye') elicits the +frequent groan, and he is certainly once guilty of calling fish the +"finny tribe." He believed himself to be animated by an intense +hatred of the Church of Rome, and disfigures many of his pages by +Lawrence-Boythorn-like tirades against that institution; but no +Catholic of sense need on this account deny himself the pleasure of +reading Borrow, whose one dominating passion was +<i>camaraderie</i>, and who hob-a-nobbed in the friendliest spirit +with priest and gipsy in a fashion as far beyond praise as it is +beyond description by any pen other than his own. Hail to thee, +George Borrow! Cervantes himself, 'Gil Bias,' do not more +effectually carry their readers into the land of the Cid than does +this miraculous agent of the Bible Society, by favor of whose +pleasantness we can, any hour of the week, enter Villafranca by +night, or ride into Galicia on an Andalusian stallion (which proved +to be a foolish thing to do), without costing anybody a +<i>peseta</i>, and at no risk whatever to our necks--be they long +or short.</p> +<p>Cooks, warriors, and authors must be judged by the effects they +produce: toothsome dishes, glorious victories, pleasant +books--these are our demands. We have nothing to do with +ingredients, tactics, or methods. We have no desire to be admitted +into the kitchen, the council, or the study. The cook may clean her +saucepans how she pleases--the warrior place his men as he +likes--the author handle his material or weave his plot as best he +can--when the dish is served we only ask, Is it good? when the +battle has been fought, Who won? when the book comes out, Does it +read?</p> +<p>Authors ought not to be above being reminded that it is their +first duty to write agreeably; some very disagreeable ones have +succeeded in doing so, and there is therefore no need for any one +to despair. Every author, be he grave or gay, should try to make +his book as ingratiating as possible. Reading is not a duty, and +has consequently no business to be made disagreeable. Nobody is +under any obligation to read any other man's book.</p> +<p>Literature exists to please,--to lighten the burden of men's +lives; to make them for a short while forget their sorrows and +their sins, their silenced hearths, their disappointed hopes, their +grim futures--and those men of letters are the best loved who have +best performed literature's truest office. Their name is happily +legion, and I will conclude these disjointed remarks by quoting +from one of them, as honest a parson as ever took tithe or voted +for the Tory candidate, the Rev. George Crabbe. Hear him in 'The +Frank Courtship':--</p> +<blockquote>"I must be loved," said Sybil; "I must see<br> +The man in terrors, who aspires to me:<br> +At my forbidding frown his heart must ache,<br> +His tongue must falter, and his frame must shake;<br> +And if I grant him at my feet to kneel,<br> +What trembling fearful pleasure must he feel!<br> +Nay, such the rapture that my smiles inspire<br> +That reason's self must for a time retire."<br> +"Alas! for good Josiah," said the dame,<br> +"These wicked thoughts would fill his soul with shame;<br> +He kneel and tremble at a thing of dust!<br> +He cannot, child:"--the child replied, "He must."</blockquote> +<p>Were an office to be opened for the insurance of literary +reputations, no critic at all likely to be in the society's service +would refuse the life of a poet who could write like Crabbe. +Cardinal Newman, Mr. Leslie Stephen, Mr. Swinburne, are not always +of the same way of thinking, but all three hold the one true faith +about Crabbe.</p> +<p>But even were Crabbe now left unread, which is very far from +being the case, his would be an enviable fame--for was he not one +of the favored poets of Walter Scott, and whenever the closing +scene of the great magician's life is read in the pages of +Lockhart, must not Crabbe's name be brought upon the reader's +quivering lip?</p> +<p>To soothe the sorrow of the soothers of sorrow, to bring tears +to the eyes and smiles to the cheeks of the lords of human smiles +and tears, is no mean ministry, and it is Crabbe's.</p> +<br> +<a name="BIRRELL_03"></a> +<center><b>TRUTH-HUNTING</b></center> +<br> +<p>Is truth-hunting one of those active mental habits which, as +Bishop Butler tells us, intensify their effects by constant use; +and are weak convictions, paralyzed intellects, and laxity of +opinions amongst the effects of Truth-hunting on the majority of +minds? These are not unimportant questions.</p> +<p>Let us consider briefly the probable effects of speculative +habits on conduct.</p> +<p>The discussion of a question of conduct has the great charm of +justifying, if indeed not requiring, personal illustration; and +this particular question is well illustrated by instituting a +comparison between the life and character of Charles Lamb and those +of some of his distinguished friends.</p> +<p>Personal illustration, especially when it proceeds by way of +comparison, is always dangerous, and the dangers are doubled when +the subjects illustrated and compared are favorite authors. It +behoves us to proceed warily in this matter. A dispute as to the +respective merits of Gray and Collins has been known to result in a +visit to an attorney and the revocation of a will. An avowed +inability to see anything in Miss Austen's novels is reported to +have proved destructive of an otherwise good chance of an Indian +judgeship. I believe, however, I run no great risk in asserting +that, of all English authors, Charles Lamb is the one loved most +warmly and emotionally by his admirers, amongst whom I reckon only +those who are as familiar with the four volumes of his 'Life and +Letters' as with 'Elia.'</p> +<p>But how does he illustrate the particular question now engaging +our attention?</p> +<p>Speaking of his sister Mary, who, as every one knows, throughout +'Elia' is called his cousin Bridget, he says:--</p> +<p>"It has been the lot of my cousin, oftener perhaps than I could +have wished, to have had for her associates and mine free-thinkers, +leaders and disciples of novel philosophies and systems; but she +neither wrangles with nor accepts their opinions."</p> +<p>Nor did her brother. He lived his life cracking his little jokes +and reading his great folios, neither wrangling with nor accepting +the opinions of the friends he loved to see around him. To a +contemporary stranger it might well have appeared as if his life +were a frivolous and useless one as compared with those of these +philosophers and thinkers. <i>They</i> discussed their great +schemes and affected to prove deep mysteries, and were constantly +asking, "What is truth?" <i>He</i> sipped his glass, shuffled his +cards, and was content with the humbler inquiry, "What are trumps?" +But to us, looking back upon that little group, and knowing what we +now do about each member of it, no such mistake is possible. To us +it is plain beyond all question that, judged by whatever standard +of excellence it is possible for any reasonable human being to +take, Lamb stands head and shoulders a better man than any of them. +No need to stop to compare him with Godwin, or Hazlitt, or Lloyd; +let us boldly put him in the scales with one whose fame is in all +the churches--with Samuel Taylor Coleridge, "logician, +metaphysician, bard."</p> +<p>There are some men whom to abuse is pleasant. Coleridge is not +one of them. How gladly we would love the author of 'Christabel' if +we could! But the thing is flatly impossible. His was an unlovely +character. The sentence passed upon him by Mr. Matthew Arnold +(parenthetically, in one of the 'Essays in Criticism')--"Coleridge +had no morals"--is no less just than pitiless. As we gather +information about him from numerous quarters, we find it impossible +to resist the conclusion that he was a man neglectful of restraint, +irresponsive to the claims of those who had every claim upon him, +willing to receive, slow to give.</p> +<p>In early manhood Coleridge planned a Pantisocracy where all the +virtues were to thrive. Lamb did something far more difficult: he +played cribbage every night with his imbecile father, whose +constant stream of querulous talk and fault-finding might well have +goaded a far stronger man into practicing and justifying +neglect.</p> +<p>That Lamb, with all his admiration for Coleridge, was well aware +of dangerous tendencies in his character, is made apparent by many +letters, notably by one written in 1796, in which he says:--</p> +<p>"O my friend, cultivate the filial feelings! and let no man +think himself released from the kind charities of relationship: +these shall give him peace at the last; these are the best +foundation for every species of benevolence. I rejoice to hear that +you are reconciled with all your relations."</p> +<p>This surely is as valuable an "aid to reflection" as any +supplied by the Highgate seer.</p> +<p>Lamb gave but little thought to the wonderful difference between +the "reason" and the "understanding." He preferred old plays--an +odd diet, some may think, on which to feed the virtues; but however +that may be, the noble fact remains, that he, poor, frail boy! (for +he was no more, when trouble first assailed him) stooped down, and +without sigh or sign took upon his own shoulders the whole burden +of a lifelong sorrow.</p> +<p>Coleridge married. Lamb, at the bidding of duty, remained +single, wedding himself to the sad fortunes of his father and +sister. Shall we pity him? No; he had his reward--the surpassing +reward that is only within the power of literature to bestow. It +was Lamb, and not Coleridge, who wrote 'Dream-Children: a +Reverie':--</p> +<p>"Then I told how for seven long years, in hope sometimes, +sometimes in despair, yet persisting ever, I courted the fair Alice +W---- n; and as much as children could understand, I explained to +them what coyness and difficulty and denial meant in maidens--when, +suddenly turning to Alice, the soul of the first Alice looked out +at her eyes with such a reality of representment that I became in +doubt which of them stood before me, or whose that bright hair was; +and while I stood gazing, both the children gradually grew fainter +to my view, receding and still receding, till nothing at last but +two mournful features were seen in the uttermost distance, which, +without speech, strangely impressed upon me the effects of speech. +'We are not of Alice nor of thee, nor are we children at all. The +children of Alice call Bartrum father. We are nothing, less than +nothing, and dreams. We are only <i>what might have been</i>.'"</p> +<p>Godwin! Hazlitt! Coleridge! Where now are their "novel +philosophies and systems"? Bottled moonshine, which does <i>not</i> +improve by keeping.</p> +<blockquote>"Only the actions of the just<br> +Smell sweet and blossom in the dust."</blockquote> +<p>Were we disposed to admit that Lamb would in all probability +have been as good a man as every one agrees he was--as kind to his +father, as full of self-sacrifice for the sake of his sister, as +loving and ready a friend--even though he had paid more heed to +current speculations, it is yet not without use in a time like +this, when so much stress is laid upon anxious inquiry into the +mysteries of soul and body, to point out how this man attained to a +moral excellence denied to his speculative contemporaries; +performed duties from which they, good men as they were, would one +and all have shrunk: how, in short, he contrived to achieve what no +one of his friends, not even the immaculate Wordsworth or the +precise Southey, achieved--the living of a life the records of +which are inspiriting to read, and are indeed "the presence of a +good diffused"; and managed to do it all without either "wrangling +with or accepting" the opinions that "hurtled in the air" about +him.</p> +<br> +<a name="BIRRELL_04"></a> +<center><b>BENVENUTO CELLINI</b></center> +<br> +<center>From 'Obiter Dicta'</center> +<br> +<p>What a liar was Benvenuto Cellini!--who can believe a word he +says? To hang a dog on his oath would be a judicial murder. Yet +when we lay down his Memoirs and let our thoughts travel back to +those far-off days he tells us of, there we see him standing, in +bold relief, against the black sky of the past, the very man he +was. Not more surely did he, with that rare skill of his, stamp the +image of Clement VII. on the papal currency, than he did the +impress of his own singular personality upon every word he spoke +and every sentence he wrote.</p> +<p>We ought, of course, to hate him, but do we? A murderer he has +written himself down. A liar he stands self-convicted of being. +Were any one in the nether world bold enough to call him thief, it +may be doubted whether Rhadamanthus would award him the damages for +which we may be certain he would loudly clamor. Why do we not hate +him? Listen to him:--</p> +<p>"Upon my uttering these words, there was a general outcry, the +noblemen affirming that I promised too much. But one of them, who +was a great philosopher, said in my favor, 'From the admirable +symmetry of shape and happy physiognomy of this young man, I +venture to engage that he will perform all he promises, and more.' +The Pope replied, 'I am of the same opinion;' then calling Trajano, +his gentleman of the bedchamber, he ordered him to fetch me five +hundred ducats."</p> +<p>And so it always ended: suspicions, aroused most reasonably, +allayed most unreasonably, and then--ducats. He deserved hanging, +but he died in his bed. He wrote his own memoirs after a fashion +that ought to have brought posthumous justice upon him, and made +them a literary gibbet, on which he should swing, a creaking +horror, for all time; but nothing of the sort has happened. The +rascal is so symmetrical, and his physiognomy, as it gleams upon us +through the centuries, so happy, that we cannot withhold our +ducats, though we may accompany the gift with a shower of +abuse.</p> +<p>This only proves the profundity of an observation made by Mr. +Bagehot--a man who carried away into the next world more +originality of thought than is now to be found in the Three Estates +of the Realm. Whilst remarking upon the extraordinary reputation of +the late Francis Horner and the trifling cost he was put to in +supporting it, Mr. Bagehot said that it proved the advantage of +"keeping an atmosphere."</p> +<p>The common air of heaven sharpens men's judgments. Poor Horner, +but for that kept atmosphere of his always surrounding him, would +have been bluntly asked "what he had done since he was breeched," +and in reply he could only have muttered something about the +currency. As for our special rogue Cellini, the question would +probably have assumed this shape: "Rascal, name the crime you have +not committed, and account for the omission."</p> +<p>But these awkward questions are not put to the lucky people who +keep their own atmospheres. The critics, before they can get at +them, have to step out of the every-day air, where only +achievements count and the Decalogue still goes for something, into +the kept atmosphere, which they have no sooner breathed than they +begin to see things differently, and to measure the object thus +surrounded with a tape of its own manufacture. Horner--poor, ugly, +a man neither of words nor deeds--becomes one of our great men; a +nation mourns his loss and erects his statue in the Abbey. Mr. +Bagehot gives several instances of the same kind, but he does not +mention Cellini, who is however in his own way an admirable +example.</p> +<p>You open his book--a Pharisee of the Pharisees. Lying, indeed! +Why, you hate prevarication. As for murder, your friends know you +too well to mention the subject in your hearing, except in +immediate connection with capital punishment. You are of course +willing to make some allowance for Cellini's time and place--the +first half of the sixteenth century and Italy! "Yes," you remark, +"Cellini shall have strict justice at my hands." So you say as you +settle yourself in your chair and begin to read. We seem to hear +the rascal laughing in his grave. His spirit breathes upon you from +his book--peeps at you roguishly as you turn the pages. His +atmosphere surrounds you; you smile when you ought to frown, +chuckle when you should groan, and--oh, final triumph!--laugh aloud +when, if you had a rag of principle left, you would fling the book +into the fire. Your poor moral sense turns away with a sigh, and +patiently awaits the conclusion of the second volume.</p> +<p>How cautiously does he begin, how gently does he win your ear by +his seductive piety! I quote from Mr. Roscoe's translation:--</p> +<p>"It is a duty incumbent on upright and credible men of all +ranks, who have performed anything noble or praiseworthy, to +record, in their own writing, the events of their lives; yet they +should not commence this honorable task before they have passed +their fortieth year. Such at least is my opinion now that I have +completed my fifty-eighth year, and am settled in Florence, where, +considering the numerous ills that constantly attend human life, I +perceive that I have never before been so free from vexations and +calamities, or possessed of so great a share of content and health +as at this period. Looking back on some delightful and happy events +of my life, and on many misfortunes so truly overwhelming that the +appalling retrospect makes me wonder how I have reached this age in +vigor and prosperity, through God's goodness I have resolved to +publish an account of my life; and ... I must, in commencing my +narrative, satisfy the public on some few points to which its +curiosity is usually directed; the first of which is to ascertain +whether a man is descended from a virtuous and ancient family.... I +shall therefore now proceed to inform the reader how it pleased God +that I should come into the world."</p> +<p>So you read on page i; what you read on page 191 is this:--</p> +<p>"Just after sunset, about eight o'clock, as this musqueteer +stood at his door with his sword in his hand, when he had done +supper, I with great address came close up to him with a long +dagger, and gave him a violent back-handed stroke, which I aimed at +his neck. He instantly turned round, and the blow, falling directly +upon his left shoulder, broke the whole bone of it; upon which he +dropped his sword, quite overcome by the pain, and took to his +heels. I pursued, and in four steps came up with him, when, raising +the dagger over his head, which he lowered down, I hit him exactly +upon the nape of the neck. The weapon penetrated so deep that, +though I made a great effort to recover it again, I found it +impossible."</p> +<p>So much for murder. Now for manslaughter, or rather Cellini's +notion of manslaughter.</p> +<p>"Pompeo entered an apothecary's shop at the corner of the +Chiavica, about some business, and stayed there for some time. I +was told he had boasted of having bullied me, but it turned out a +fatal adventure to him. Just as I arrived at that quarter he was +coming out of the shop, and his bravoes, having made an opening, +formed a circle round him. I thereupon clapped my hand to a sharp +dagger, and having forced my way through the file of ruffians, laid +hold of him by the throat, so quickly and with such presence of +mind that there was not one of his friends could defend him. I +pulled him towards me to give him a blow in front, but he turned +his face about through excess of terror, so that I wounded him +exactly under the ear; and upon repeating my blow, he fell down +dead. It had never been my intention to kill him, but blows are not +always under command."</p> +<p>We must all feel that it would never have done to have begun +with these passages; but long before the 191st page has been +reached, Cellini has retreated into his own atmosphere, and the +scales of justice have been hopelessly tampered with.</p> +<p>That such a man as this encountered suffering in the course of +his life should be matter for satisfaction to every well-regulated +mind; but somehow or other, you find yourself pitying the fellow as +he narrates the hardships he endured in the Castle of St. Angelo. +He is so symmetrical a rascal! Just hear him! listen to what he +says well on in the second volume, after the little incidents +already quoted:--</p> +<p>"Having at length recovered my strength and vigor, after I had +composed myself and resumed my cheerfulness of mind, I continued to +read my Bible, and so accustomed my eyes to that darkness, that +though I was at first able to read only an hour and a half, I could +at length read three hours. I then reflected on the wonderful power +of the Almighty upon the hearts of simple men, who had carried +their enthusiasm so far as to believe firmly that God would indulge +them in all they wished for; and I promised myself the assistance +of the Most High, as well through His mercy as on account of my +innocence. Thus turning constantly to the Supreme Being, sometimes +in prayer, sometimes in silent meditation on the divine goodness, I +was totally engrossed by these heavenly reflections, and came to +take such delight in pious meditations that I no longer thought of +past misfortunes. On the contrary, I was all day long singing +psalms and many other compositions of mine, in which I celebrated +and praised the Deity."</p> +<p>Thus torn from their context, these passages may seem to supply +the best possible falsification of the previous statement that +Cellini told the truth about himself. Judged by these passages +alone, he may appear a hypocrite of an unusually odious +description. But it is only necessary to read his book to dispel +that notion. He tells lies about other people; he repeats long +conversations, sounding his own praises, during which, as his own +narrative shows, he was not present; he exaggerates his own +exploits, his sufferings--even, it may be, his crimes: but when we +lay down his book, we feel we are saying good-by to a man whom we +know.</p> +<p>He has introduced himself to us, and though doubtless we prefer +saints to sinners, we may be forgiven for liking the company of a +live rogue better than that of the lay-figures and empty +clock-cases labeled with distinguished names, who are to be found +doing duty for men in the works of our standard historians. What +would we not give to know Julius Cæsar one-half as well as we +know this outrageous rascal? The saints of the earth, too, how +shadowy they are! Which of them do we really know? Excepting one or +two ancient and modern Quietists, there is hardly one amongst the +whole number who being dead yet speaketh. Their memoirs far too +often only reveal to us a hazy something, certainly not +recognizable as a man. This is generally the fault of their +editors, who, though men themselves, confine their editorial duties +to going up and down the diaries and papers of the departed saint, +and obliterating all human touches. This they do for the "better +prevention of scandals"; and one cannot deny that they attain their +end, though they pay dearly for it.</p> +<p>I shall never forget the start I gave when, on reading some old +book about India, I came across an after-dinner jest of Henry +Martyn's. The thought of Henry Martyn laughing over the walnuts and +the wine was almost, as Robert Browning's unknown painter says, +"too wildly dear;" and to this day I cannot help thinking that +there must be a mistake somewhere.</p> +<p>To return to Cellini, and to conclude. On laying down his +Memoirs, let us be careful to recall our banished moral sense, and +make peace with her, by passing a final judgment on this desperate +sinner; which perhaps after all, we cannot do better than by +employing language of his own concerning a monk, a fellow-prisoner +of his, who never, so far as appears, murdered anybody, but of whom +Cellini none the less felt himself entitled to say:--</p> +<p>"I admired his shining qualities, but his odious vices I freely +censured and held in abhorrence."</p> +<br> +<a name="BIRRELL_05"></a> +<center><b>ON THE ALLEGED OBSCURITY OF MR. BROWNING'S +POETRY</b></center> +<br> +<center>From 'Obiter Dicta'</center> +<br> +<p>In considering whether a poet is intelligible and lucid, we +ought not to grope and grub about his work in search of obscurities +and oddities, but should, in the first instance at all events, +attempt to regard his whole scope and range; to form some estimate, +if we can, of his general purport and effect, asking ourselves for +this purpose such questions as these:--How are we the better for +him? Has he quickened any passion, lightened any burden, purified +any taste? Does he play any real part in our lives? When we are in +love, do we whisper him in our lady's ear? When we sorrow, does he +ease our pain? Can he calm the strife of mental conflict? Has he +had anything to say which wasn't twaddle on those subjects which, +elude analysis as they may, and defy demonstration as they do, are +yet alone of perennial interest--</p> +<blockquote>"On man, on nature, and on human life,"</blockquote> +<p>on the pathos of our situation, looking back on to the +irrevocable and forward to the unknown? If a poet has said, or +done, or been any of these things to an appreciable extent, to +charge him with obscurity is both folly and ingratitude.</p> +<p>But the subject may be pursued further, and one may be called +upon to investigate this charge with reference to particular books +or poems. In Browning's case this fairly may be done; and then +another crop of questions arises, such as: What is the book about, +i.e., with what subject does it deal, and what method of dealing +does it employ? Is it didactical, analytical, or purely narrative? +Is it content to describe, or does it aspire to explain? In common +fairness these questions must be asked and answered, before we +heave our critical half-bricks at strange poets. One task is of +necessity more difficult than another. Students of geometry who +have pushed their researches into that fascinating science so far +as the fifth proposition of the first book, commonly called the +'Pons Asinorum' (though now that so many ladies read Euclid, it +ought, in common justice to them, to be at least sometimes called +the 'Pons Asinarum'), will agree that though it may be more +difficult to prove that the angles at the base of an isosceles +triangle are equal, and that if the equal sides be produced, the +angles on the other side of the base shall be equal, than it was to +describe an equilateral triangle on a given finite straight line; +yet no one but an ass would say that the fifth proposition was one +whit less intelligible than the first. When we consider Mr. +Browning in his later writings, it will be useful to bear this +distinction in mind.</p> +<p>Looking then at the first period, we find in its front eight +plays:--</p> +<p>1. 'Strafford,' written in 1836, when its author was twenty-four +years old, and put upon the boards of Covent Garden Theatre on the +1st of May, 1837; Macready playing Strafford, and Miss Helen Faucit +Lady Carlisle. It was received with much enthusiasm, but the +company was rebellious and the manager bankrupt; and after running +five nights, the man who played Pym threw up his part, and the +theatre was closed.</p> +<p>2. 'Pippa Passes.'</p> +<p>3. 'King Victor and King Charles.'</p> +<p>4. 'The Return of the Druses.'</p> +<p>5. 'A Blot in the 'Scutcheon.'</p> +<p>This beautiful and pathetic play was put on the stage of Drury +Lane on the 11th of February, 1843, with Phelps as Lord Tresham, +Miss Helen Faucit as Mildred Tresham, and Mrs. Stirling, still +known to us all, as Guendolen. It was a brilliant success. Mr. +Browning was in the stage-box; and if it is any satisfaction for a +poet to hear a crowded house cry "Author, author!" that +satisfaction has belonged to Mr. Browning. The play ran several +nights; and was only stopped because one of Mr. Macready's +bankruptcies happened just then to intervene. It was afterwards +revived by Mr. Phelps, during his "memorable management" of +Sadlers' Wells.</p> +<p>6. 'Colombe's Birthday.' Miss Helen Faucit put this upon the +stage in 1852, when it was reckoned a success.</p> +<p>7. 'Luria.'</p> +<p>8. 'A Soul's Tragedy.'</p> +<p>To call any of these plays unintelligible is ridiculous; and +nobody who has ever read them ever did, and why people who have not +read them should abuse them is hard to see. Were society put upon +its oath, we should be surprised to find how many people in high +places have not read 'All's Well that Ends Well,' or 'Timon of +Athens'; but they don't go about saying these plays are +unintelligible. Like wise folk, they pretend to have read them, and +say nothing. In Browning's case they are spared the hypocrisy. No +one need pretend to have read 'A Soul's Tragedy'; and it seems, +therefore, inexcusable for any one to assert that one of the +plainest, most pointed and piquant bits of writing in the language +is unintelligible. But surely something more may be truthfully said +of these plays than that they are comprehensible. First of all, +they are <i>plays</i>, and not <i>works</i>--like the dropsical +dramas of Sir Henry Taylor and Mr. Swinburne. Some of them have +stood the ordeal of actual representation; and though it would be +absurd to pretend that they met with that overwhelming measure of +success our critical age has reserved for such dramatists as the +late Lord Lytton, the author of 'Money,' the late Tom Taylor, the +author of 'The Overland Route,' the late Mr. Robertson, the author +of 'Caste,' Mr. H. Byron, the author of 'Our Boys,' Mr. Wills, the +author of 'Charles I.,' Mr. Burnand, the author of 'The Colonel,' +and Mr. Gilbert, the author of so much that is great and glorious +in our national drama; at all events they proved themselves able to +arrest and retain the attention of very ordinary audiences. But who +can deny dignity and even grandeur to 'Luria,' or withhold the meed +of a melodious tear from 'Mildred Tresham'? What action of what +play is more happily conceived or better rendered than that of +'Pippa Passes'?--where innocence and its reverse, tender love and +violent passion, are presented with emphasis, and yet blended into +a dramatic unity and a poetic perfection, entitling the author to +the very first place amongst those dramatists of the century who +have labored under the enormous disadvantage of being poets to +start with.</p> +<p>Passing from the plays, we are next attracted by a number of +splendid poems, on whose base the structure of Mr. Browning's fame +perhaps rests most surely,--his dramatic pieces; poems which give +utterance to the thoughts and feelings of persons other than +himself, or as he puts it when dedicating a number of them to his +wife:--</p> +<blockquote>"Love, you saw me gather men and women,<br> +Live or dead, or fashioned by my fancy,<br> +Enter each and all, and use their service,<br> +Speak from every mouth the speech--a poem;"</blockquote> +<p>or again in 'Sordello':--</p> +<blockquote>"By making speak, myself kept out of view,<br> +The very man as he was wont to do."</blockquote> +<p>At a rough calculation, there must be at least sixty of these +pieces. Let me run over the names of a very few of them. 'Saul,' a +poem beloved by all true women; 'Caliban,' which the men, not +unnaturally perhaps, often prefer. The 'Two Bishops': the +sixteenth-century one ordering his tomb of jasper and basalt in St. +Praxed's Church, and his nineteenth-century successor rolling out +his post-prandial <i>Apologia</i>. 'My Last Duchess,' the +'Soliloquy in a Spanish Cloister,' 'Andrea del Sarto,' 'Fra Lippo +Lippi,' 'Rabbi Ben Ezra,' 'Cleon,' 'A Death in the Desert,' 'The +Italian in England,' and 'The Englishman in Italy.'</p> +<p>It is plain truth to say that no other English poet, living or +dead, Shakespeare excepted, has so heaped up human interest for his +readers as has Robert Browning....</p> +<p>Against these dramatic pieces the charge of unintelligibility +fails as completely as it does against the plays. They are all +perfectly intelligible; but--and here is the rub--they are not easy +reading, like the estimable writings of the late Mrs. Hemans. They +require the same honest attention as it is the fashion to give to a +lecture of Professor Huxley's or a sermon of Canon Liddon's; and +this is just what too many persons will not give to poetry. +They</p> +<blockquote> + +"Love to hear<br> +A soft pulsation in their easy ear;<br> +To turn the page, and let their senses drink<br> +A lay that shall not trouble them to think."</blockquote> +<hr style="width: 25%;"> +<p>Next to these dramatic pieces come what we may be content to +call simply poems: some lyrical, some narrative. The latter are +straightforward enough, and as a rule full of spirit and humor; but +this is more than can always be said of the lyrical pieces. Now, +for the first time in dealing with this first period, excluding +'Sordello,' we strike difficulty. The Chinese puzzle comes in. We +wonder whether it all turns on the punctuation. And the awkward +thing for Mr. Browning's reputation is this, that these bewildering +poems are for the most part very short. We say awkward, for it is +not more certain that Sarah Gamp liked her beer drawn mild than it +is that your Englishman likes his poetry cut short; and so, +accordingly, it often happens that some estimable paterfamilias +takes up an odd volume of Browning his volatile son or moonstruck +daughter has left lying about, pishes and pshaws! and then, with an +air of much condescension and amazing candor, remarks that he will +give the fellow another chance, and not condemn him unread. So +saying, he opens the book, and carefully selects the very shortest +poem he can find; and in a moment, without sign or signal, note or +warning, the unhappy man is floundering up to his neck in lines +like these, which are the third and final stanza of a poem called +'Another Way of Love':--</p> +<blockquote> "And after, for pastime,<br> + If June be refulgent<br> + With flowers in completeness,<br> + All petals, no +prickles,<br> + Delicious as +trickles<br> + Of wine poured at mass-time,<br> + And choose One +indulgent<br> + To redness and sweetness;<br> +Or if with experience of man and of spider,<br> +She use my June lightning, the strong insect-ridder<br> +To stop the fresh spinning,--why June will consider."</blockquote> +<p>He comes up gasping, and more than ever persuaded that +Browning's poetry is a mass of inconglomerate nonsense, which +nobody understands--least of all members of the Browning +Society.</p> +<p>We need be at no pains to find a meaning for everything Mr. +Browning has written. But when all is said and done--when these few +freaks of a crowded brain are thrown overboard to the sharks of +verbal criticism who feed on such things--Mr. Browning and his +great poetical achievement remain behind to be dealt with and +accounted for. We do not get rid of the Laureate by quoting:--</p> +<blockquote>"O darling room, my heart's delight,<br> +Dear room, the apple of my sight,<br> +With thy two couches soft and white<br> +There is no room so exquisite--<br> +No little room so warm and bright<br> +Wherein to read, wherein to write;"</blockquote> +<p>or of Wordsworth by quoting:--</p> +<blockquote>"At this, my boy hung down his head:<br> +He blushed with shame, nor made reply,<br> +And five times to the child I said,<br> +"'Why, Edward? tell me why?'"</blockquote> +<p>or of Keats by remembering that he once addressed a young lady +as follows:--</p> +<blockquote>"O come, Georgiana! the rose is full blown,<br> +The riches of Flora are lavishly strown:<br> +The air is all softness and crystal the streams,<br> +The west is resplendently clothèd in beams."</blockquote> +<p>The strength of a rope may be but the strength of its weakest +part; but poets are to be judged in their happiest hours, and in +their greatest works.</p> +<p>The second period of Mr. Browning's poetry demands a different +line of argument; for it is, in my judgment, folly to deny that he +has of late years written a great deal which makes very difficult +reading indeed. No doubt you may meet people who tell you that they +read 'The Ring and the Book' for the first time without much mental +effort; but you will do well not to believe them. These poems are +difficult--they cannot help being so. What is 'The Ring and the +Book'? A huge novel in twenty thousand lines--told after the method +not of Scott but of Balzac; it tears the hearts out of a dozen +characters; it tells the same story from ten different points of +view. It is loaded with detail of every kind and description: you +are let off nothing. As with a schoolboy's life at a large school, +if he is to enjoy it at all, he must fling himself into it, and +care intensely about everything--so the reader of 'The Ring and the +Book' must be interested in everybody and everything, down to the +fact that the eldest daughter of the counsel for the prosecution of +Guido is eight years old on the very day he is writing his speech, +and that he is going to have fried liver and parsley for his +supper.</p> +<p>If you are prepared for this, you will have your reward; for the +<i>style</i>, though rugged and involved, is throughout, with the +exception of the speeches of counsel, eloquent and at times superb; +and as for the <i>matter</i>, if your interest in human nature is +keen, curious, almost professional--if nothing man, woman, or child +has been, done, or suffered, or conceivably can be, do, or suffer, +is without interest for you; if you are fond of analysis, and do +not shrink from dissection--you will prize 'The Ring and the Book' +as the surgeon prizes the last great contribution to comparative +anatomy or pathology.</p> +<p>But this sort of work tells upon style. Browning has, I think, +fared better than some writers. To me, at all events, the step from +'A Blot in the 'Scutcheon' to 'The Ring and the Book' is not so +marked as is the <i>mauvais pas</i> that lies between 'Amos Barton' +and 'Daniel Deronda.' But difficulty is not obscurity. One task is +more difficult than another. The angles at the base of the +isosceles triangles are apt to get mixed, and to confuse us +all--man and woman alike. 'Prince Hohenstiel' something or another +is a very difficult poem, not only to pronounce but to read; but if +a poet chooses as his subject Napoleon III.--in whom the cad, the +coward, the idealist, and the sensualist were inextricably +mixed--and purports to make him unbosom himself over a bottle of +Gladstone claret in a tavern at Leicester Square, you cannot expect +that the product should belong to the same class of poetry as Mr. +Coventry Patmore's admirable 'Angel in the House.'</p> +<p>It is the method that is difficult. Take the husband in 'The +Ring and the Book.' Mr. Browning remorselessly hunts him down, +tracks him to the last recesses of his mind, and there bids him +stand and deliver. He describes love, not only broken but breaking; +hate in its germ; doubt at its birth. These are difficult things to +do either in poetry or prose, and people with easy, flowing +Addisonian or Tennysonian styles cannot do them.</p> +<p>I seem to overhear a still, small voice asking, But are they +worth doing? or at all events, is it the province of art to do +them? The question ought not to be asked. It is heretical, being +contrary to the whole direction of the latter half of this century. +The chains binding us to the rocks of realism are faster riveted +every day; and the Perseus who is destined to cut them is, I +expect, some mischievous little boy at a Board-school. But as the +question has been asked, I will own that sometimes, even when +deepest in works of this, the now orthodox school, I have been +harassed by distressing doubts whether after all this enormous +labor is not in vain; and wearied by the effort, overloaded by the +detail, bewildered by the argument, and sickened by the pitiless +dissection of character and motive, have been tempted to cry aloud, +quoting--or rather, in the agony of the moment, +misquoting--Coleridge:--</p> +<blockquote>"Simplicity--thou better name<br> +Than all the family of Fame."</blockquote> +<p>But this ebullition of feeling is childish and even sinful. We +must take our poets as we do our meals--as they are served up to +us. Indeed, you may, if full of courage, give a cook notice, but +not the time-spirit who makes our poets. We may be sure--to +appropriate an idea of the late Sir James Stephen--that if Robert +Browning had lived in the sixteenth century, he would not have +written a poem like 'The Ring and the Book'; and if Edmund Spenser +had lived in the nineteenth century he would not have written a +poem like the 'Faerie Queene.'</p> +<p>It is therefore idle to arraign Mr. Browning's later method and +style for possessing difficulties and intricacies which are +inherent to it. The method at all events has an interest of its +own, a strength of its own, a grandeur of its own. If you do not +like it you must leave it alone. You are fond, you say, of romantic +poetry; well, then, take down your Spenser and qualify yourself to +join "the small transfigured band" of those who are able to take +their Bible-oaths they have read their 'Faerie Queene' all through. +The company, though small, is delightful, and you will have plenty +to talk about without abusing Browning, who probably knows his +Spenser better than you do. Realism will not for ever dominate the +world of letters and art--the fashion of all things passeth +away--but it has already earned a great place: it has written +books, composed poems, painted pictures, all stamped with that +"greatness" which, despite fluctuations, nay, even reversals of +taste and opinion, means immortality.</p> +<p>But against Mr. Browning's later poems it is sometimes alleged +that their meaning is obscure because their grammar is bad. A cynic +was once heard to observe with reference to that noble poem 'The +Grammarian's Funeral,' that it was a pity the talented author had +ever since allowed himself to remain under the delusion that he had +not only buried the grammarian, but his grammar also. It is +doubtless true that Mr. Browning has some provoking ways, and is +something too much of a verbal acrobat. Also, as his witty +parodist, the pet poet of six generations of Cambridge +undergraduates, reminds us:--</p> +<blockquote>He loves to dock the smaller parts of speech,<br> +As we curtail the already cur-tailed cur."</blockquote> +<p>It is perhaps permissible to weary a little of his <i>i'</i>s +and <i>o'</i>s, but we believe we cannot be corrected when we say +that Browning is a poet whose grammar will bear scholastic +investigation better than that of most of Apollo's children.</p> +<p>A word about 'Sordello.' One half of 'Sordello,' and that, with +Mr. Browning's usual ill-luck, the first half, is undoubtedly +obscure. It is as difficult to read as 'Endymion' or the 'Revolt of +Islam,' and for the same reason--the author's lack of experience in +the art of composition. We have all heard of the young architect +who forgot to put a staircase in his house, which contained fine +rooms, but no way of getting into them. 'Sordello' is a poem +without a staircase. The author, still in his twenties, essayed a +high thing. For his subject--</p> +<blockquote> + +"He singled out<br> +Sordello compassed murkily about<br> +With ravage of six long sad hundred years.'"</blockquote> +<p>He partially failed; and the British public, with its accustomed +generosity, and in order, I suppose, to encourage the others, has +never ceased girding at him because forty-two years ago he +published at his own charges a little book of two hundred and fifty +pages, which even such of them as were then able to read could not +understand.</p> +<br> +<p><b>End of Volume IV.</b></p> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 13220 ***</div> +</body> +</html> + diff --git a/13220-h/images/illus-1473.jpg b/13220-h/images/illus-1473.jpg Binary files differnew file mode 100644 index 0000000..a34f355 --- /dev/null +++ b/13220-h/images/illus-1473.jpg diff --git a/13220-h/images/illus-1567.jpg b/13220-h/images/illus-1567.jpg Binary files differnew file mode 100644 index 0000000..a80aa84 --- /dev/null +++ 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