Part 5

Other compilations of similar nature met the same success: 'The Calamities of Authors,' 'Quarrels of Authors,' and 'Literary Recollections'; but the 'Amenities of Literature,' his last work, is the most purely literary in form, and affords perhaps the best index to D'Israeli's abilities as a writer. The reader of to-day, however, is struck by the ephemeral nature of this criticism, which yet by a curious literary experience is keeping a place among the permanent productions of its age. The reader is everywhere impressed by the human sympathy, by the wide if rather superficial knowledge, and by innumerable felicities of expression and style, which betray the cultivated mind. To lovers of the curious the books still appeal, and they will continue to hold an honorable place among the bric-a-brac of literature.

The spirit of curiosity which characterized the mind of D'Israeli assumed its most dignified concrete form in the 'Commentaries on the Reign of Charles I.' D'Israeli had an artistic sense of the values in a historical picture, with a keen perception of the importance of side lights; and although the book is not a great contribution to the literature of history, yet it became popular, and in July 1832 earned for its author the degree of D.C.L. from Oxford.

D'Israeli's romances were tedious tales, but his hold upon the public was secure, and the vast amount of miscellaneous matter which he published always found a delighted audience. 'The Genius of Judaism,' a philosophical inquiry into the historical significance of the permanence of the Jewish race, showed the author's psychic limitations. He designed a history of English literature, for which he had gathered much material, but increasing blindness forced him to abandon it. Much of D'Israeli's popularity was unquestionably due to his qualities of heart. His nature was fine; he was an affectionate and devoted friend, and held an enviable position in the literary circles of the day. Campbell, Byron, Rogers, and Scott alike admired and loved him, while a host of lesser men eagerly sought his friendship.

Although brought up in the Jewish faith, D'Israeli affiliated early in life with the Church of England, in which his three sons and one daughter were baptized. He died in 1848, and was buried at Brandenham. Twenty years later his daughter-in-law, the Countess of Beaconsfield, erected at Hughenden a monument to his memory.

POETS, PHILOSOPHERS, AND ARTISTS MADE BY ACCIDENT

From 'Curiosities of Literature'

Accident has frequently occasioned the most eminent geniuses to display their powers. It was at Rome, says Gibbon, on the fifteenth of October, 1764, as I sat musing amidst the ruins of the Capitol, while the barefooted friars were singing vespers in the Temple of Jupiter, that the idea of writing the decline and fall of the city first started to my mind.

Father Malebranche, having completed his studies in philosophy and theology without any other intention than devoting himself to some religious order, little expected the celebrity his works acquired for him. Loitering in an idle hour in the shop of a bookseller, and turning over a parcel of books, 'L'Homme de Descartes' fell into his hands. Having dipt into some parts, he read with such delight that the palpitations of his heart compelled him to lay the volume down. It was this circumstance that produced those profound contemplations which made him the Plato of his age.

Cowley became a poet by accident. In his mother's apartment he found, when very young, Spenser's 'Fairy Queen,' and by a continual study of poetry he became so enchanted of the Muse that he grew irrecoverably a poet.

Dr. Johnson informs us that Sir Joshua Reynolds had the first fondness of his art excited by the perusal of Richardson's Treatise.

Vaucanson displayed an uncommon genius for mechanics. His taste was first determined by an accident: when young, he frequently attended his mother to the residence of her confessor; and while she wept with repentance, he wept with weariness! In this state of disagreeable vacation, says Helvetius, he was struck with the uniform motion of the pendulum of the clock in the hall. His curiosity was roused; he approached the clock-case, and studied its mechanism; what he could not discover he guessed at. He then projected a similar machine, and gradually his genius produced a clock. Encouraged by this first success, he proceeded in his various attempts; and the genius which thus could form a clock, in time formed a fluting automaton.

If Shakespeare's imprudence had not obliged him to quit his wool trade and his town; if he had not engaged with a company of actors, and at length, disgusted with being an indifferent performer, he had not turned author, the prudent wool-seller had never been the celebrated poet.

Accident determined the taste of Molière for the stage. His grandfather loved the theatre, and frequently carried him there. The young man lived in dissipation; the father, observing it, asked in anger if his son was to be made an actor. "Would to God," replied the grandfather, "he was as good an actor as Montrose." The words struck young Molière; he took a disgust to his tapestry trade; and it is to this circumstance France owes her greatest comic writer.

Corneille loved; he made verses for his mistress, became a poet, composed 'Mélite,' and afterwards his other celebrated works. The discreet Corneille had remained a lawyer.

Thus it is that the devotion of a mother, the death of Cromwell, deer-stealing, the exclamation of an old man, and the beauty of a woman, have given five illustrious characters to Europe.

We owe the great discovery of Newton to a very trivial accident. When a student at Cambridge, he had retired during the time of the plague into the country. As he was reading under an apple-tree, one of the fruit fell, and struck him a smart blow on the head. When he observed the smallness of the apple, he was surprised at the force of the stroke. This led him to consider the accelerating motion of falling bodies; from whence he deduced the principle of gravity, and laid the foundation of his philosophy.

Ignatius Loyola was a Spanish gentleman who was dangerously wounded at the siege of Pampeluna. Having heated his imagination by reading the Lives of the Saints, which were brought to him in his illness instead of a romance, he conceived a strong ambition to be the founder of a religious order; whence originated the celebrated society of the Jesuits.

Rousseau found his eccentric powers first awakened by the advertisement of the singular annual subject which the Academy of Dijon proposed for that year, in which he wrote his celebrated Declamation against the arts and sciences; a circumstance which determined his future literary efforts.

La Fontaine, at the age of twenty-two, had not taken any profession or devoted himself to any pursuit. Having accidentally heard some verses of Malherbe, he felt a sudden impulse, which directed his future life. He immediately bought a Malherbe, and was so exquisitely delighted with this poet that after passing the nights in treasuring his verses in his memory, he would run in the daytime to the woods, where, concealing himself, he would recite his verses to the surrounding dryads.

Flamsteed was an astronomer by accident. He was taken from school on account of his illness, when Sacrobosco's book 'De Sphæra' having been lent to him, he was so pleased with it that he immediately began a course of astronomic studies. Pennant's first propensity to natural history was the pleasure he received from an accidental perusal of Willoughby's work on birds; the same accident, of finding on the table of his professor Reaumur's 'History of Insects,'--of which he read more than he attended to the lecture.--and having been refused the loan, gave such an instant turn to the mind of Bonnet that he hastened to obtain a copy, but found many difficulties in procuring this costly work. Its possession gave an unalterable direction to his future life: this naturalist indeed lost the use of his sight by his devotion to the microscope.

Dr. Franklin attributes the cast of his genius to a similar accident. "I found a work of Defoe's, entitled an 'Essay on Projects,' from which perhaps I derived impressions that have since influenced some of the principal events of my life."

I shall add the incident which occasioned Roger Ascham to write his 'Schoolmaster,' one of the most curious and useful treatises among our elder writers.

At a dinner given by Sir William Cecil during the plague in 1563, at his apartments at Windsor, where the Queen had taken refuge, a number of ingenious men were invited. Secretary Cecil communicated the news of the morning, that several scholars at Eton had run away on account of their master's severity, which he condemned as a great error in the education of youth. Sir William Petre maintained the contrary; severe in his own temper, he pleaded warmly in defense of hard flogging. Dr. Wootton, in softer tones, sided with the Secretary. Sir John Mason, adopting no side, bantered both. Mr. Haddon seconded the hard-hearted Sir William Petre, and adduced as an evidence that the best schoolmaster then in England was the hardest flogger. Then was it that Roger Ascham indignantly exclaimed that if such a master had an able scholar it was owing to the boy's genius and not the preceptor's rod. Secretary Cecil and others were pleased with Ascham's notions. Sir Richard Sackville was silent; but when Ascham after dinner went to the Queen to read one of the orations of Demosthenes, he took him aside, and frankly told him that though he had taken no part in the debate he would not have been absent from that conversation for a great deal; that he knew to his cost the truth Ascham had supported, for it was the perpetual flogging of such a schoolmaster that had given him an unconquerable aversion to study. And as he wished to remedy this defect in his own children, he earnestly exhorted Ascham to write his observations on so interesting a topic. Such was the circumstance which produced the admirable treatise of Roger Ascham.

THE MARTYRDOM OF CHARLES THE FIRST

From the 'Commentaries on the Reign of Charles the First'

At Whitehall a repast had been prepared. The religious emotions of Charles had consecrated the sacrament, which he refused to mingle with human food. The Bishop, whose mind was unequal to conceive the intrepid spirit of the King, dreading lest the magnanimous monarch, overcome by the severity of the cold, might faint on the scaffold, prevailed on him to eat half a manchet of bread and taste some claret. But the more consolatory refreshment of Charles had been just imparted to him in that singular testimony from his son, who had sent a _carte blanche_ to save the life of his father at any price. This was a thought on which his affections could dwell in face of the scaffold which he was now to ascend.

Charles had arrived at Whitehall about ten o'clock, and was not led to the scaffold till past one. It was said that the scaffold was not completed; it might have been more truly said that the conspirators were not ready. There was a mystery in this delay. The fate of Charles the First to the very last moment was in suspense. Fairfax, though at the time in the palace, inquired of Herbert how the King was, when the King was no more! and expressed his astonishment on hearing that the execution had just taken place. This extraordinary simplicity and abstraction from the present scene of affairs has been imputed to the General as an act of refined dissimulation, yet this seems uncertain. The Prince's _carte blanche_ had been that morning confided to his hands, and he surely must have laid it before the "Grandees of the Army," as this new order of the rulers of England was called. Fairfax, whose personal feelings respecting the King were congenial with those his lady had so memorably evinced, labored to defer for a few days the terrible catastrophe; not without the hope of being able, by his own regiment and others in the army, to prevent the deed altogether. It is probable--inexplicable as it may seem to us--that the execution of Charles the First really took place unknown to the General. Fairfax was not unaccustomed to discover that his colleagues first acted, and afterwards trusted to his own discernment.

Secret history has not revealed all that passed in those three awful hours. We know, however, that the warrant for the execution was not signed till within a few minutes before the King was led to the scaffold. In an apartment in the Palace, Ireton and Harrison were in bed together, and Cromwell, with four colonels, assembled in it. Colonel Huncks refused to sign the warrant. Cromwell would have no further delay, reproaching the Colonel as "a peevish, cowardly fellow," and Colonel Axtell declared that he was ashamed for his friend Huncks, remonstrating with him, that "the ship is coming into the harbor, and now would he strike sail before we come to anchor?" Cromwell stepped to a table, and wrote what he had proposed to Huncks; Colonel Hacker, supplying his place, signed it, and with the ink hardly dry, carried the warrant in his hand and called for the King.

At the fatal summons Charles rose with alacrity. The King passed through the long gallery by a line of soldiers. Awe and sorrow seem now to have mingled in their countenances. Their barbarous commanders were intent on their own triumph, and no farther required the forced cry of "Justice and Execution." Charles stepped out of an enlarged window of the Banqueting House, where a new opening leveled it with the scaffold. Charles came forward with the same indifference as "he would have entered Whitehall on a masque night," as an intelligent observer described. The King looked towards St. James's and smiled. Curious eyes were watchful of his slightest motions; and the Commonwealth papers of the day express their surprise, perhaps their vexation, at the unaltered aspect and the firm step of the Monarch. These mean spirits had flattered themselves that he who had been cradled in royalty, who had lived years in the fields of honor, and was now, they presumed, a recreant in imprisonment,--"the grand Delinquent of England,"--as they called him, would start in horror at the block.

This last triumph at least was not reserved for them,--it was for the King. Charles, dauntless, strode "the floor of Death," to use Fuller's peculiar but expressive phraseology. He looked on the block with the axe lying upon it, with attention; his only anxiety was that the block seemed not sufficiently raised, and that the edge of the axe might be turned by being swept by the flappings of cloaks, or blunted by the feet of some moving about the scaffold. "Take care they do not put me to pain!--Take heed of the axe! take heed of the axe!" exclaimed the King to a gentleman passing by. "Hurt not the axe; that may hurt me!" His continued anxiety concerning these _circumstances_ proves that he felt not the terror of death, solely anxious to avoid the pain, for he had an idea of their cruelty. With that sedate thoughtfulness which was in all his actions, he only looked at the business of the hour. One circumstance Charles observed with a smile. They had a notion that the King would resist the executioner; on the suggestion of Hugh Peters, it is said, they had driven iron staples and ropes into the scaffold, that their victim, if necessary, might be bound down upon the block.

The King's speech has many remarkable points, but certainly nothing so remarkable as the place where it was delivered. This was the first "King's Speech" spoken from a scaffold. Time shall confirm, as history has demonstrated, his principle that "They mistook the nature of government; for people are free under a government, not by being sharers in it, but by the due administration of the laws." "It was for this," said Charles, "that now I am come here. If I could have given way to an arbitrary sway, for to have all laws changed according to the power of the sword, I need not have come here; and therefore I tell you that I am _the Martyr of the People_!"

SYDNEY DOBELL

(1824-1874)

Sydney Dobell, the son of a wine merchant, was born at Cranbrook in Kent. His parents, both persons of strong individuality, believed in home training, and not one of their eight children went either to school or to university. They belonged to the Broad Church Community founded by Sydney's maternal grandfather, Samuel Thompson; a church intended to recall in its principles the primitive Christian ages. The parents looked upon Sydney, their eldest-born, as destined to become the apostle of this creed. He grew up in a kind of religious fervor, with his precocious mind unnaturally stimulated; a course of conduct which materially weakened his constitution, and made him a chronic invalid at the early age of thirty-three. He read whatever books came to hand, many of them far beyond his years. At the age of eight he filled his diary with theological discussions.

Entering his father's counting-house as a mere lad, he remained to the end of his life a business man of great energy. Notwithstanding his rare poetic endowments, he never seems to have entertained a single-minded purpose to be a poet and nothing more. On the contrary, he thought the ideal and the practical life perfectly compatible, and he strove to unite in himself the poet and the man of affairs. He wrote habitually until 1856, when regular literary work was forbidden by his physicians. With characteristic energy he now turned his thoughts into other channels; identified himself with the affairs of Gloucester, where he was living, looked after his business, and was one of the first to adopt the system of industrial co-operation. The last four years of his life, a period of suffering and helplessness, he spent at Barton-End House, above the Stroud valley, where he died in the spring of 1874.

In the work of Dobell it is curious to find so few traces of the influences under which he grew up. He had every encouragement to become a writer of religious poetry; yet much of his work is philosophic and recondite. His delicate health is in a measure responsible for his failure to achieve the success which his natural endowments promised. All his literary work was done between the ages of twenty-three and thirty-three. 'The Roman,' his first long poem, appeared in 1850. Dedicated to the Italian struggle for liberty, it showed his breadth of sympathy. In 'Balder,' finished in 1853, Dobell is at his best both as thinker and as poet. Yet its many fine passages, its wealth of metaphor, and the exquisite songs of Amy, hardly counterbalance the remoteness of its theme, and its over-subtle analysis of morbid psychic states. It is a poem to be read in fragments, and has aptly been called a mine for poets.

With Alexander Smith he published in 1855 a series of sonnets inspired by the Crimean War. This was followed in 1856 by 'England in War Time,' a collection of Dobell's lyrical and descriptive poems, which possess more general human interest than any other of his books.

After continuous work was interdicted, he still contributed verse and prose to the periodicals. His essays have been collected by Professor Nichol, under the title 'Thoughts on Art, Philosophy, and Religion.' As a poet Dobell belongs to the so-called "spasmodic school," a school "characterized by an undercurrent of discontent with the mystery of existence, by vain effort, unrewarded struggle, skeptical unrest, and an uneasy striving after some incomprehensible end.... Poetry of this kind is marked by an excess of metaphor which darkens rather than illustrates, and by a general extravagance of language. On the other hand, it manifests freshness and originality, and a rich natural beauty." Dobell's descriptions of scenery are among the finest in English literature. His senses were abnormally acute, like those of a savage, a condition which intensified his appreciation of natural beauty. Possessing a vivid imagination and wide sympathies, he was often over-subtle and obscure. He strove to realize in himself his ideal of a poet, and during his years of ill-health gave himself up to promoting the welfare of his fellow-men; but of his seventeen years of inactivity he says:--"The keen perception of all that should be done, and that so bitterly cries for doing, accompanies the consciousness of all that I might but cannot do."

EPIGRAM ON THE DEATH OF EDWARD FORBES

Nature, a jealous mistress, laid him low. He wooed and won her; and, by love made bold, She showed him more than mortal man should know-- Then slew him lest her secret should be told.

HOW'S MY BOY?

"Ho, sailor of the sea! How's my boy--my boy?"-- "What's your boy's name, good wife, And in what good ship sailed he?"

"My boy John-- He that went to sea-- What care I for the ship, sailor? My boy's my boy to me.

"You come back from the sea, And not know my John? I might as well have asked some landsman, Yonder down in the town. There's not an ass in all the parish But knows my John.

"How's my boy--my boy? And unless you let me know, I'll swear you are no sailor, Blue jacket or no-- Brass buttons or no, sailor, Anchor and crown or no--

"Sure, his ship was the Jolly Briton--" "Speak low, woman, speak low!

"And why should I speak low, sailor, About my own boy John? If I was loud as I am proud I'd sing him over the town! Why should I speak low, sailor?"-- "That good ship went down."

"How's my boy--my boy? What care I for the ship, sailor? I was never aboard her. Be she afloat or be she aground, Sinking or swimming, I'll be bound Her owners can afford her! I say, how's my John?"-- "Every man on board went down, Every man aboard her."

"How's my boy--my boy? What care I for the men, sailor? I'm not their mother. How's my boy--my boy? Tell me of him and no other! How's my boy--my boy?"

THE SAILOR'S RETURN

This morn I lay a-dreaming, This morn, this merry morn; When the cock crew shrill from over the hill, I heard a bugle horn.

And through the dream I was dreaming, There sighed the sigh of the sea, And through the dream I was dreaming, This voice came singing to me:--

"High over the breakers, Low under the lee, Sing ho! The billow, And the lash of the rolling sea!

"Boat, boat, to the billow, Boat, boat, to the lee! Love, on thy pillow, Art thou dreaming of me?