PART I.

REVIEWS.

MENZEL'S VIEW OF GOETHE.

Menzel's view of Goethe is that of a Philistine, in the least opprobrious sense of the term. It is one which has long been applied in Germany to petty cavillers and incompetent critics. I do not wish to convey a sense so disrespectful in speaking of Menzel. He has a vigorous and brilliant mind, and a wide, though imperfect, culture. He is a man of talent, but talent cannot comprehend genius. He judges of Goethe as a Philistine, inasmuch as he does not enter into Canaan, and read the prophet by the light of his own law, but looks at him from without, and tries him by a rule beneath which he never lived. That there _was_ something Menzel saw; what that something was _not_ he saw, but _what_ it _was_ he could not see; none could _see_; it was something to be felt and known at the time of its apparition, but the clear sight of it was reserved to a day far enough removed from its sphere to get a commanding point of view. Has that day come? A little while ago it seemed so; certain features of Goethe's personality, certain results of his tendency, had become so manifest. But as the plants he planted mature, they shed a new seed for a yet more noble growth. A wider experience, a deeper insight, make rejected words come true, and bring a more refined perception of meaning already discerned. Like all his elder brothers of the elect band, the forlorn hope of humanity, he obliges us to live and grow, that we may walk by his side; vainly we strive to leave him behind in some niche of the hall of our ancestors; a few steps onward and we find him again, of yet serener eye and more towering mien than on his other pedestal. Former measurements of his size have, like the girdle bound by the nymphs round the infant Apollo, only served to make him outgrow the unworthy compass. The still rising sun, with its broader light, shows us it is not yet noon. In him is soon perceived a prophet of our own age, as well as a representative of his own; and we doubt whether the revolutions of the century be not required to interpret the quiet depths of his _Saga_.

Sure it is that none has yet found Goethe's place, as sure that none can claim to be his peer, who has not some time, ay, and for a long time, been his pupil!

Yet much truth has been spoken of him in detail, some by Menzel, but in so superficial a spirit, and with so narrow a view of its bearings, as to have all the effect of falsehood. Such denials of the crown can only fix it more firmly on the head of the "Old Heathen." To such the best answer may be given in the words of Bettina Brentan: "The others criticise thy works; I only know that they lead us on and on till we live in them." And thus will all criticism end in making more men and women read these works, and "on and on," till they forget whether the author be a patriot or a moralist, in the deep humanity of the thought, the breathing nature of the scene. While words they have accepted with immediate approval fade from memory, these oft-denied words of keen, cold truth return with ever new force and significance.

Men should be true, wise, beautiful, pure, and aspiring. This man was true and wise, capable of all things. Because he did not in one short life complete his circle, can we afford to lose him out of sight? Can we, in a world where so few men have in any degree redeemed their inheritance, neglect a nature so rich and so manifestly progressive?

Historically considered, Goethe needs no apology. His so-called faults fitted him all the better for the part he had to play. In cool possession of his wide-ranging genius, he taught the imagination of Germany, that the highest flight should be associated with the steady sweep and undazzled eye of the eagle. Was he too much the connoisseur, did he attach too great an importance to the cultivation of taste, where just then German literature so much needed to be refined, polished, and harmonized? Was he too sceptical, too much an experimentalist,--how else could he have formed himself to be the keenest, and, at the same time, most nearly universal of observers, teaching theologians, philosophers, and patriots that nature comprehends them all, commands them all, and that no one development of life must exclude the rest? Do you talk, in the easy cant of the day, of German obscurity, extravagance, pedantry, and bad taste,--and will you blame this man, whose Greek, English, Italian, German mind steered so clear of these rocks and shoals, clearing, adjusting, and calming on each side, wherever he turned his prow? Was he not just enough of an idealist, just enough of a realist, for his peculiar task? If you want a moral enthusiast, is not there Schiller? If piety, of purest, mystic sweetness, who but Novalis? Exuberant sentiment, that treasures each withered leaf in a tender breast, look to your Richter. Would you have men to find plausible meaning for the deepest enigma, or to hang up each map of literature, well painted and dotted on its proper roller,--there are the Schlegels. Men of ideas were numerous as migratory crows in autumn, and Jacobi wrote the heart into philosophy, as well as he could. Who could fill Goethe's place to Germany, and to the world, of which she is now the teacher? His much-reviled aristocratic turn was at that time a reconciling element. It is plain why he was what he was, for his country and his age.

Whoever looks into the history of his youth, will be struck by a peculiar force with which all things worked together to prepare him for his office of artist-critic to the then chaotic world of thought in his country. What an unusually varied scene of childhood and of youth! What endless change and contrast of circumstances and influences! Father and mother, life and literature, world and nature,--playing into one another's hands, always by antagonism! Never was a child so carefully guarded by fate against prejudice, against undue bias, against any engrossing sentiment. Nature having given him power of poetical sympathy to know every situation, would not permit him to make himself at home in any. And how early what was most peculiar in his character manifested itself, may be seen in these anecdotes related by his mother to Bettina.

Of Goethe's childhood.--"He was not willing to play with other little children, unless they were very fair. In a circle he began suddenly to weep, screaming, 'Take away the black, ugly child; I cannot bear to have it here.' He could not be pacified; they were obliged to take him home, and there the mother could hardly console him for the child's ugliness. He was then only three years old."

"His mother was surprised, that when his brother Jacob died, who had been his playmate, he shed no tear, but rather seemed annoyed by the lamentations of those around him. But afterwards, when his mother asked whether he had not loved his brother, he ran into his room and brought from under his bed a bundle of papers, all written over, and said he had done all this for Jacob."

Even so in later years, had he been asked if he had not loved his country and his fellow-men, he would not have answered by tears and vows, but pointed to his works.

In the first anecdote is observable that love of symmetry in external relations which, in manhood, made him give up the woman he loved, because she would not have been in place among the old-fashioned furniture of his father's house; and dictated the course which, at the crisis of his life, led him to choose an outward peace rather than an inward joy. In the second, he displays, at the earliest age, a sense of his vocation as a recorder, the same which drew him afterwards to write his life into verse, rather than clothe it in action. His indirectness, his aversion to the frankness of heroic meetings, is repulsive and suspicious to generous and flowing natures; yet many of the more delicate products of the mind seem to need these sheaths, lest bird and insect rifle them in the bud.

And if this subtlety, isolation, and distance be the dictate of nature, we submit, even as we are not vexed that the wild bee should hide its honey in some old moss-grown tree, rather than in the glass hives of our gardens. We believe it will repay the pains we take in seeking for it, by some peculiar flavor from unknown flowers. Was Goethe the wild bee? We see that even in his boyhood he showed himself a very Egyptian, in his love for disguises; forever expressing his thought in roundabout ways, which seem idle mummery to a mind of Spartan or Roman mould. Had he some simple thing to tell his friend, he read it from the newspaper, or wrote it into a parable. Did he make a visit, he put on the hat or wig of some other man, and made his bow as Schmidt or Schlosser, that they might stare, when he spoke as Goethe. He gives as the highest instance of passionate grief, that he gave up for one day watching the tedious ceremonies of the imperial coronation. In daily life many of these carefully recorded passages have an air of platitude, at which no wonder the Edinburgh Review laughed. Yet, on examination, they are full of meaning. And when we see the same propensity writing itself into Ganymede, Mahomet's song, the Bayadere, and Faust, telling all Goethe's religion in Mignon and Makana, all his wisdom in the Western-Eastern Divan, we respect it, accept, all but love it.

This theme is for a volume, and I must quit it now. A brief summary of what Goethe was suffices to vindicate his existence, as an agent in history and a part of nature, but will not meet the objections of those who measure him, as they have a right to do, by the standard of ideal manhood.

Most men, in judging another man, ask, Did he live up to our standard?

But to me it seems desirable to ask rather, Did he live up to his own?

So possible is it that our consciences may be more enlightened than that of the Gentile under consideration. And if we can find out how much was given him, we are told, in a pure evangelium, to judge thereby how much shall be required.

Now, Goethe has given us both his own standard and the way to apply it. "To appreciate any man, learn first what object he proposed to himself; next, what degree of earnestness he showed with regard to attaining that object."

And this is part of his hymn for man made in the divine image, "THE GODLIKE."

"Hail to the Unknown, the Higher Being Felt within us!

"Unfeeling As nature, Still shineth the sun Over good and evil; And on the sinner, Smile as on the best, Moon and stars. Fate too, &c.

"There can none but man Perform the Impossible. He understandeth, Chooseth, and judgeth; He can impart to the Moment duration.

"He alone may The good reward, The guilty punish, Mend and deliver; All the wayward, anomalous Bind in the useful.

"And the Immortals, Them we reverence As if they were men, and Did, on a grand scale, What the best man in little Does, or fain would do.

"Let noble man Be helpful and good; Ever creating The Right and the Useful; Type of those loftier Beings of whom the heart whispers."

This standard is high enough. It is what every man should express in action, the poet in music!

And this office of a judge, who is of purer eyes than to behold iniquity, and of a sacred oracle, to whom other men may go to ask when they should choose a friend, when face a foe, this great genius does not adequately fulfil. Too often has the priest left the shrine to go and gather simples by the aid of spells whose might no pure power needs. Glimpses are found in his works of the highest spirituality, but it is blue sky seen through chinks in a roof which should never have been builded. He has used life to excess. He is too rich for his nobleness, too judicious for his inspiration, too humanly wise for his divine mission. He might have been a priest; he is only a sage.

An Epicurean sage, say the multitude. This seems to me unjust. He is also called a debauchee. There may be reason for such terms, but it is partial, and received, as they will be, by the unthinking, they are as false as Menzel's abuse, in the impression they convey. Did Goethe value the present too much? It was not for the Epicurean aim of pleasure, but for use. He, in this, was but an instance of reaction, in an age of painful doubt and restless striving as to the future. Was his private life stained by profligacy? That far largest portion of his life, which is ours, and which is expressed in his works, is an unbroken series of efforts to develop the higher elements of our being. I cannot speak to private gossip on this subject, nor even to well-authenticated versions of his private life. Here are sixty volumes, by himself and others, which contain sufficient evidence of a life of severe labor, steadfast forbearance, and an intellectual growth almost unparalleled. That he has failed of the highest fulfilment of his high vocation is certain, but he was neither Epicurean nor sensualist, if we consider his life as a whole.

Yet he had failed to reach his highest development; and how was it that he was so content with this incompleteness, nay, the serenest of men? His serenity alone, in such a time of scepticism and sorrowful seeking, gives him a claim to all our study. See how he rides at anchor, lordly, rich in freight, every white sail ready to be unfurled at a moment's warning! And it must be a very slight survey which can confound this calm self-trust with selfish indifference of temperament. Indeed, he, in various ways, lets us see how little he was helped in this respect by temperament. But we need not his declaration,--the case speaks for itself. Of all that perpetual accomplishment, that unwearied constructiveness, the basis must be sunk deeper than in temperament. He never halts, never repines, never is puzzled, like other men; that tranquillity, full of life, that ceaseless but graceful motion, "without haste, without rest," for which we all are striving, he has attained. And is not his love of the noblest kind? Reverence the highest, have patience with the lowest. Let this day's performance of the meanest duty be thy religion. Are the stars too distant, pick up that pebble that lies at thy foot, and from it learn the all. Go out like Saul, the son of Kish, look earnestly after the meanest of thy father's goods, and a kingdom shall be brought thee. The least act of pure self-renunciation hallows, for the moment, all within its sphere. The philosopher may mislead, the devil tempt, yet innocence, though wounded and bleeding as it goes, must reach at last the holy city. The power of sustaining himself and guiding others rewards man sufficiently for the longest apprenticeship. Is not this lore the noblest?

Yes, yes, but still I doubt. 'Tis true, he says all this in a thousand beautiful forms, but he does not warm, he does not inspire me. In his certainty is no bliss, in his hope no love, in his faith no glow. How is this?

A friend, of a delicate penetration, observed, "His atmosphere was so calm, so full of light, that I hoped he would teach me his secret of cheerfulness. But I found, after long search, that he had no better way, if he wished to check emotion or clear thought, than to go to work. As his mother tells us, 'My son, if he had a grief, made it into a poem, and so got rid of it.' This mode is founded in truth, but does not involve the whole truth. I want the method which is indicated by the phrase, 'Perseverance of the saints.'"

This touched the very point. Goethe attained only the perseverance of a man. He was true, for he knew that nothing can be false to him who is true, and that to genius nature has pledged her protection. Had he but seen a little farther, he would have given this covenant a higher expression, and been more deeply true to a diviner nature.

In another article on Goethe, I shall give some account of that period, when a too determined action of the intellect limited and blinded him for the rest of his life; I mean only in comparison with what he should have been. Had it been otherwise, what would he not have attained, who, even thus self-enchained, rose to Ulyssean stature. Connected with this is the fact, of which he spoke with such sarcastic solemnity to Eckermann--"My works will never be popular."

I wish, also, to consider the Faust, Elective Affinities, Apprenticeship and Pilgrimages of Wilhelm Meister, and Iphigenia, as affording indications of the progress of his genius here, of its wants and prospects in future spheres of activity. For the present I bid him farewell, as his friends always have done, in hope and trust of a better meeting.

GOETHE.

"Nemo contra Deum nisi Deus ipse."

"Wer Grosses will muss sich zusammen raffen; In der Beschrankung zeigt sich erst der Meister, Und der Gesetz nur Kann uns Freikeit geben."[1]

The first of these mottoes is that prefixed by Goethe to the last books of "Dichtung und Wahrheit." These books record the hour of turning tide in his life, the time when he was called on for a choice at the "Parting of the Ways." From these months, which gave the sun of his youth, the crisis of his manhood, date the birth of Egmont, and of Faust too, though the latter was not published so early. They saw the rise and decline of his love for Lili, apparently the truest love he ever knew. That he was not himself dissatisfied with the results to which the decisions of this era led him, we may infer from his choice of a motto, and from the calm beauty with which he has invested the record.

The Parting of the Ways! The way he took led to court-favor, wealth, celebrity, and an independence of celebrity. It led to large performance, and a wonderful economical management of intellect. It led Faust, the Seeker, from the heights of his own mind to the trodden ways of the world. There, indeed, he did not lose sight of the mountains, but he never breathed their keen air again.

After this period we find in him rather a wide and deep Wisdom, than the inspiration of Genius. His faith, that all _must_ issue well, wants the sweetness of piety, and the God he manifests to us is one of law or necessity, rather than of intelligent love. As this God makes because he must, so Goethe, his instrument, observes and re-creates because he must, observing with minutest fidelity the outward exposition of Nature; never blinded by a sham, or detained by a fear, he yet makes us feel that he wants insight to her sacred secret. The calmest of writers does not give us repose, because it is too difficult to find his centre. Those flame-like natures, which he undervalues, give us more peace and hope, through their restless aspirations, than he with his hearth-enclosed fires of steady fulfilment. For, true as it is, that God is every where, we must not only see him, but see him acknowledged. Through the consciousness of man, "shall not Nature interpret God?" We wander in diversity, and with each new turning of the path, long anew to be referred to the One.

Of Goethe, as of other natures, where the intellect is too much developed in proportion to the moral nature, it is difficult to speak without seeming narrow, blind, and impertinent. For such men _see_ all that others _live_, and, if you feel a want of a faculty in them, it is hard to say they have it not, lest, next moment, they puzzle you by giving some indication of it. Yet they are not, nay, _know_ not; they only discern. The difference is that between sight and life, prescience and being, wisdom and love. Thus with Goethe. Naturally of a deep mind and shallow heart, he felt the sway of the affections enough to appreciate their workings in other men, but never enough to receive their inmost regenerating influence.

How this might have been had he ever once abandoned himself entirely to a sentiment, it is impossible to say. But the education of his youth seconded, rather than balanced, his natural tendency. His father was a gentlemanly martinet; dull, sour, well-informed, and of great ambition as to externals. His influence on the son was wholly artificial. He was always turning his powerful mind from side to side in search of information, for the attainment of what are called accomplishments. The mother was a delightful person in her way; open, genial, playful, full of lively talent, but without earnestness of soul. She was one of those charming, but not noble persons, who take the day and the man as they find them, seeing the best that is there already, but never making the better grow in its stead. His sister, though of graver kind, was social and intellectual, not religious or tender. The mortifying repulse of his early love checked the few pale buds of faith and tenderness that his heart put forth. His friends were friends of the intellect merely; altogether, he seemed led by destiny to the place he was to fill.

Pardon him, World, that he was too worldly. Do not wonder, Heart, that he was so heartless. Believe, Soul, that one so true, as far as he went, must yet be initiated into the deeper mysteries of Soul. Perhaps even now he sees that we must accept limitations only to transcend them; work in processes only to detect the organizing power which supersedes them; and that Sphinxes of fifty-five volumes might well be cast into the abyss before the single word that solves them all.

Now, when I think of Goethe, I seem to see his soul, all the variegated plumes of knowledge, artistic form "und so weiter," burnt from it by the fires of divine love, wingless, motionless, unable to hide from itself in any subterfuge of labor, saying again and again, the simple words which he would never distinctly say on earth--God beyond Nature--Faith beyond Sight--the Seeker nobler than the _Meister_.

For this mastery that Goethe prizes seems to consist rather in the skilful use of means than in the clear manifestation of ends. His Master, indeed, makes acknowledgment of a divine order, but the temporal uses are always uppermost in the mind of the reader. But of this, more at large in reference to his works.

Apart from this want felt in his works, there is a littleness in his aspect as a character. Why waste his time in Weimar court entertainments? His duties as minister were not unworthy of him, though it would have been, perhaps, finer, if he had not spent so large a portion of that prime of intellectual life, from five and twenty to forty, upon them.

But granted that the exercise these gave his faculties, the various lore they brought, and the good they did to the community, made them worth his doing,--why that perpetual dangling after the royal family? Why all that verse-making for the albums of serene highnesses, and those pretty poetical entertainments for the young princesses, and that cold setting himself apart from his true peers, the real sovereigns of Weimar--Herder, Wieland, and the others? The excuse must be found in circumstances of his time and temperament, which made the character of man of the world and man of affairs more attractive to him than the children of nature can conceive it to be in the eyes of one who is capable of being a consecrated bard.

The man of genius feels that literature has become too much a craft by itself. No man should live by or for his pen. Writing is worthless except as the record of life; and no great man ever was satisfied thus to express all his being. His book should be only an indication of himself. The obelisk should point to a scene of conquest. In the present state of division of labor, the literary man finds himself condemned to be nothing else. Does he write a good book? it is not received as evidence of his ability to live and act, but rather the reverse. Men do not offer him the care of embassies, as an earlier age did to Petrarca; they would be surprised if he left his study to go forth to battle like Cervantes. We have the swordsman, and statesman, and penman, but it is not considered that the same mind which can rule the destiny of a poem, may as well that of an army or an empire.[2] Yet surely it should be so. The scientific man may need seclusion from the common affairs of life, for he has his materials before him; but the man of letters must seek them in life, and he who cannot act will but imperfectly appreciate action.

The literary man is impatient at being set apart. He feels that monks and troubadours, though in a similar position, were brought into more healthy connection with man and nature, than he who is supposed to look at them merely to write them down. So he rebels; and Sir Walter Scott is prouder of being a good sheriff and farmer, than of his reputation as the Great Unknown. Byron piques himself on his skill in shooting and swimming. Sir H. Davy and Schlegel would be admired as dandies, and Goethe, who had received an order from a publisher "for a dozen more dramas in the same style as Goetz von Berlichingen," and though (in sadder sooth) he had already Faust in his head asking to be written out, thought it no degradation to become premier in the little Duchy of Weimar.

"Straws show which way the wind blows," and a comment may be drawn from the popular novels, where the literary man is obliged to wash off the ink in a violet bath, attest his courage in the duel, and hide his idealism beneath the vulgar nonchalance and coxcombry of the man of fashion.

If this tendency of his time had some influence in making Goethe find pleasure in tangible power and decided relations with society, there were other causes which worked deeper. The growth of genius in its relations to men around must always be attended with daily pain. The enchanted eye turns from the far-off star it has detected to the short-sighted bystander, and the seer is mocked for pretending to see what others cannot. The large and generalizing mind infers the whole from a single circumstance, and is reproved by all around for its presumptuous judgment. Its Ithuriel temper pierces shams, creeds, covenants, and chases the phantoms which others embrace, till the lovers of the false Florimels hurl the true knight to the ground. Little men are indignant that Hercules, yet an infant, declares he has strangled the serpent; they demand a proof; they send him out into scenes of labor to bring thence the voucher that his father is a god. What the ancients meant to express by Apollo's continual disappointment in his loves, is felt daily in the youth of genius. The sympathy he seeks flies his touch, the objects of his affection sneer at his sublime credulity, his self-reliance is arrogance, his far sight infatuation, and his ready detection of fallacy fickleness and inconsistency. Such is the youth of genius, before the soul has given that sign of itself which an unbelieving generation cannot controvert. Even then he is little benefited by the transformation of the mockers into worshippers. For the soul seeks not adorers, but peers; not blind worship, but intelligent sympathy. The best consolation even then is that which Goethe puts into the mouth of Tasso: "To me gave a God to tell what I suffer." In "Tasso" Goethe has described the position of the poetical mind in its prose relations with equal depth and fulness. We see what he felt must be the result of entire abandonment to the highest nature. We see why he valued himself on being able to understand the Alphonsos, and meet as an equal the Antonios of every-day life.

But, you say, there is no likeness between Goethe and Tasso. Never believe it; such pictures are not painted from observation merely. That deep coloring which fills them with light and life is given by dipping the brush in one's own life-blood. Goethe had not from nature that character of self-reliance and self-control in which he so long appeared to the world. It was wholly acquired, and so highly valued because he was conscious of the opposite tendency. He was by nature as impetuous, though not as tender, as Tasso, and the disadvantage at which this constantly placed him was keenly felt by a mind made to appreciate the subtlest harmonies in all relations. Therefore was it that when he at last cast anchor, he was so reluctant again to trust himself to wave and breeze.

I have before spoken of the antagonistic influences under which he was educated. He was driven from the severity of study into the world, and then again drawn back, many times in the course of his crowded youth. Both the world and the study he used with unceasing ardor, but not with the sweetness of a peaceful hope. Most of the traits which are considered to mark his character at a later period were wanting to him in youth. He was very social, and continually perturbed by his social sympathies. He was deficient both in outward self-possession and mental self-trust. "I was always," he says, "either _too volatile or too infatuated_, so that those who looked kindly on me did by no means always honor me with their esteem." He wrote much and with great freedom. The pen came naturally to his hand, but he had no confidence in the merit of what he wrote, and much inferior persons to Merck and Herder might have induced him to throw aside as worthless what it had given him sincere pleasure to compose. It was hard for him to isolate himself, to console himself, and, though his mind was always busy with important thoughts, they did not free him from the pressure of other minds. His youth was as sympathetic and impetuous as any on record.

The effect of all this outward pressure on the poet is recorded in Werther--a production that he afterwards under-valued, and to which he even felt positive aversion. It was natural that this should be. In the calm air of the cultivated plain he attained, the remembrance of the miasma of sentimentality was odious to him. Yet sentimentality is but sentiment diseased, which to be cured must be patiently observed by the wise physician; so are the morbid desire and despair of Werther, the sickness of a soul aspiring to a purer, freer state, but mistaking the way.

The best or the worst occasion in man's life is precisely that misused in Werther, when he longs for more love, more freedom, and a larger development of genius than the limitations of this terrene sphere permit. Sad is it indeed if, persisting to grasp too much at once, he lose all, as Werther did. He must accept limitation, must consent to do his work in time, must let his affections be baffled by the barriers of convention. Tantalus-like, he makes this world a Tartarus, or, like Hercules, rises in fires to heaven, according as he knows how to interpret his lot. But he must only use, not adopt it. The boundaries of the man must never be confounded with the destiny of the soul. If he does not decline his destiny, as Werther did, it is his honor to have felt its unfitness for his eternal scope. He was born for wings; he is held to walk in leading-strings; nothing lower than faith must make him resigned, and only in hope should he find content--a hope not of some slight improvement in his own condition or that of other men, but a hope justified by the divine justice, which is bound in due time to satisfy every want of his nature.

Schiller's great command is, "Keep true to the dream of thy youth." The great problem is how to make the dream real, through the exercise of the waking will.

This was not exactly the problem Goethe tried to solve. To _do_ somewhat, became too important, as is indicated both by the second motto to this essay, and by his maxim, "It is not the knowledge of what _might be_, but what _is_, that forms us."

Werther, like his early essays now republished from the Frankfort Journal, is characterized by a fervid eloquence of Italian glow, which betrays a part of his character almost lost sight of in the quiet transparency of his later productions, and may give us some idea of the mental conflicts through which he passed to manhood.

The acting out the mystery into life, the calmness of survey, and the passionateness of feeling, above all the ironical baffling at the end, and want of point to a tale got up with such an eye to effect as he goes along, mark well the man that was to be. Even so did he demand in Werther; even so resolutely open the door in the first part of Faust; even so seem to play with himself and his contemporaries in the second part of Faust and Wilhelm Meister.

Yet was he deeply earnest in his play, not for men, but for himself. To himself as a part of nature it was important to grow, to lift his head to the light. In nature he had all confidence; for man, as a part of nature, infinite hope; but in him as an individual will, seemingly, not much trust at the earliest age.

The history of his intimacies marks his course; they were entered into with passionate eagerness, but always ended in an observation of the intellect, and he left them on his road, as the snake leaves his skin. The first man he met of sufficient force to command a large share of his attention was Herder, and the benefit of this intercourse was critical, not genial. Of the good Lavater he soon perceived the weakness. Merck, again, commanded his respect; but the force of Merck also was cold.

But in the Grand Duke of Weimar he seems to have met a character strong enough to exercise a decisive influence upon his own. Goethe was not so politic and worldly that a little man could ever have become his Mæcenas. In the Duchess Amelia and her son he found that practical sagacity, large knowledge of things as they are, active force, and genial feeling, which he had never before seen combined.

The wise mind of the duchess gave the first impulse to the noble course of Weimar. But that her son should have availed himself of the foundation she laid is praise enough, in a world where there is such a rebound from parental influence that it generally seems that the child makes use of the directions given by the parent only to avoid the prescribed path. The duke availed himself of guidance, though with a perfect independence in action. The duchess had the unusual wisdom to know the right time for giving up the reins, and thus maintained her authority as far as the weight of her character was calculated to give it.

Of her Goethe was thinking when he wrote, "The admirable woman is she, who, if the husband dies, can be a father to the children."

The duke seems to have been one of those characters which are best known by the impression their personal presence makes on us, resembling an elemental and pervasive force, rather than wearing the features of an individuality. Goethe describes him as "_Dämonische_," that is, gifted with an instinctive, spontaneous force, which at once, without calculation or foresight, chooses the right means to an end. As these beings do not calculate, so is their influence incalculable. Their repose has as much influence over other beings as their action, even as the thunder cloud, lying black and distant in the summer sky, is not less imposing than when it bursts and gives forth its quick lightnings. Such men were Mirabeau and Swift. They had also distinct talents, but their influence was from a perception in the minds of men of this spontaneous energy in their natures. Sometimes, though rarely, we see such a man in an obscure position; circumstances have not led him to a large sphere; he may not have expressed in words a single thought worth recording; but by his eye and voice he rules all around him.

He stands upon his feet with a firmness and calm security which make other men seem to halt and totter in their gait. In his deep eye is seen an infinite comprehension, an infinite reserve of power. No accent of his sonorous voice is lost on any ear within hearing; and, when he speaks, men hate or fear perhaps the disturbing power they feel, but never dream of disobeying. But hear Goethe himself.

"The boy believed in nature, in the animate and inanimate the intelligent and unconscious, to discover somewhat which manifested itself only through contradiction, and therefore could not be comprehended by any conception, much less defined by a word. It was not divine, for it seemed without reason; not human, because without understanding; not devilish, because it worked to good; not angelic, because it often betrayed a petulant love of mischief. It was like chance, in that it proved no sequence; it suggested the thought of Providence, because it indicated connection. To this all our limitations seem penetrable; it seemed to play at will with all the elements of our being; it compressed time and dilated space. Only in the impossible did it seem to delight, and to cast the possible aside with disdain.

"This existence which seemed to mingle with others, sometimes to separate, sometimes to unite, I called the Dämonische, after the example of the ancients, and others who have observed somewhat similar."--_Dichtung und Wahrheit._

"The Dämonische is that which cannot be explained by reason or understanding; it lies not in my nature, but I am subject to it.

"Napoleon was a being of this class, and in so high a degree that scarce any one is to be compared with him. Also our late grand duke was such a nature, full of unlimited power of action and unrest, so that his own dominion was too little for him, and the greatest would have been too little. Demoniac beings of this sort the Greeks reckoned among their demigods."--_Conversations with Eckermann._[3]

This great force of will, this instinctive directness of action, gave the duke an immediate ascendency over Goethe which no other person had ever possessed. It was by no means mere sycophancy that made him give up the next ten years, the prime of his manhood, to accompanying the grand duke in his revels, or aiding him in his schemes of practical utility, or to contriving elegant amusements for the ladies of the court. It was a real admiration for the character of the genial man of the world and its environment.

Whoever is turned from his natural path may, if he will, gain in largeness and depth what he loses in simple beauty; and so it was with Goethe. Faust became a wiser if not a nobler being. Werther, who must die because life was not wide enough and rich enough in love for him, ends as the Meister of the Wanderjahre, well content to be one never inadequate to the occasion, "help-full, comfort-full."

A great change was, during these years, perceptible to his friends in the character of Goethe. From being always "either too volatile or infatuated," he retreated into a self-collected state, which seemed at first even icy to those around him. No longer he darted about him the lightnings of his genius, but sat Jove-like and calm, with the thunderbolts grasped in his hand, and the eagle gathered to his feet. His freakish wit was subdued into a calm and even cold irony; his multiplied relations no longer permitted him to abandon himself to any; the minister and courtier could not expatiate in the free regions of invention, and bring upon paper the signs of his higher life, without subjecting himself to an artificial process of isolation. Obliged to economy of time and means, he made of his intimates not objects of devout tenderness, of disinterested care, but the crammers and feeders of his intellect. The world was to him an arena or a studio, but not a temple.

"Ye cannot serve God and Mammon."

Had Goethe entered upon practical life from the dictate of his spirit, which bade him not be a mere author, but a living, loving man, that had all been well. But he must also be a man of the world, and nothing can be more unfavorable to true manhood than this ambition. The citizen, the hero, the general, the poet, all these are in true relations; but what is called being a man of the world is to truckle to it, not truly to serve it.

Thus fettered in false relations, detained from retirement upon the centre of his being, yet so relieved from the early pressure of his great thoughts as to pity more pious souls for being restless seekers, no wonder that he wrote,--

"Es ist dafür gesorgt dass die Bäume nicht in den Himmel wachsen."

"Care is taken that the trees grow not up into the heavens." Ay, Goethe, but in proportion to their force of aspiration is their height.

Yet never let him be confounded with those who sell all their birthright. He became blind to the more generous virtues, the nobler impulses, but ever in self-respect was busy to develop his nature. He was kind, industrious, wise, gentlemanly, if not manly. If his genius lost sight of the highest aim, he is the best instructor in the use of means; ceasing to be a prophet poet, he was still a poetic artist. From this time forward he seems a listener to nature, but not himself the highest product of nature,--a priest to the soul of nature. His works grow out of life, but are not instinct with the peculiar life of human resolve, as are Shakspeare's or Dante's.

Faust contains the great idea of his life, as indeed there is but one great poetic idea possible to man--the progress of a soul through the various forms of existence.

All his other works, whatever their miraculous beauty of execution, are mere chapters to this poem, illustrative of particular points. Faust, had it been completed in the spirit in which it was begun, would have been the Divina Commedia of its age.

But nothing can better show the difference of result between a stern and earnest life, and one of partial accommodation, than a comparison between the Paridiso and that of the second part of Faust. In both a soul, gradually educated and led back to God, is received at last not through merit, but grace. But O the difference between the grandly humble reliance of old Catholicism, and the loophole redemption of modern sagacity! Dante was a _man_, of vehement passions, many prejudices, bitter as much as sweet. His knowledge was scanty, his sphere of observation narrow, the objects of his active life petty, compared with those of Goethe. But, constantly retiring to his deepest self, clearsighted to the limitations of man, but no less so to the illimitable energy of the soul, the sharpest details in his work convey a largest sense, as his strongest and steadiest flights only direct the eye to heavens yet beyond.

Yet perhaps he had not so hard a battle to wage, as this other great poet. The fiercest passions are not so dangerous foes to the soul as the cold scepticism of the understanding. The Jewish demon assailed the man of Uz with physical ills, the Lucifer of the middle ages tempted his passions; but the Mephistopheles of the eighteenth century bade the finite strive to compass the infinite, and the intellect attempt to solve all the problems of the soul.

This path Faust had taken: it is that of modern necromancy. Not willing to grow into God by the steady worship of a life, men would enforce his presence by a spell; not willing to learn his existence by the slow processes of their own, they strive to bind it in a word, that they may wear it about the neck as a talisman.

Faust, bent upon reaching the centre of the universe through the intellect alone, naturally, after a length of trial, which has prevented the harmonious unfolding of his nature, falls into despair. He has striven for one object, and that object eludes him. Returning upon himself, he finds large tracts of his nature lying waste and cheerless. He is too noble for apathy, too wise for vulgar content with the animal enjoyments of life. Yet the thirst he has been so many years increasing is not to be borne. Give me, he cries, but a drop of water to cool my burning tongue. Yet, in casting himself with a wild recklessness upon the impulses of his nature yet untried, there is a disbelief that any thing short of the All can satisfy the immortal spirit. His first attempt was noble, though mistaken, and under the saving influence of it, he makes the compact, whose condition cheats the fiend at last.

Kannst du mich schmeichelnd je belügen Dass ich mir selbst gefallen mag, Kannst du mich mit Genuss betrügen: Das sey für mich der letzte Tag.

Werd ich zum Augenblicke sagen: Verweile doch! du bist so schön! Dann magst du mich in Fesseln schlagen, Dann will ich gern zu Grunde gehen.

Canst thou by falsehood or by flattery Make me one moment with myself at peace, Cheat me into tranquillity? Come then And welcome, life's last day. Make me but to the moment say, O fly not yet, thou art so fair, Then let me perish, &c.

But this condition is never fulfilled. Faust cannot be content with sensuality, with the charlatanry of ambition, nor with riches. His heart never becomes callous, nor his moral and intellectual perceptions obtuse. He is saved at last.

With the progress of an individual soul is shadowed forth that of the soul of the age; beginning in intellectual scepticism; sinking into license; cheating itself with dreams of perfect bliss, to be at once attained by means no surer than a spurious paper currency; longing itself back from conflict between the spirit and the flesh, induced by Christianity, to the Greek era with its harmonious development of body and mind; striving to reëmbody the loved phantom of classical beauty in the heroism of the middle age; flying from the Byron despair of those who die because they cannot soar without wings, to schemes however narrow, of practical utility,--redeemed at last through mercy alone.

The second part of Faust is full of meaning, resplendent with beauty; but it is rather an appendix to the first part than a fulfilment of its promise. The world, remembering the powerful stamp of individual feeling, universal indeed in its application, but individual in its life, which had conquered all its scruples in the first part, was vexed to find, instead of the man Faust, the spirit of the age,--discontented with the shadowy manifestation of truths it longed to embrace, and, above all, disappointed that the author no longer met us face to face, or riveted the ear by his deep tones of grief and resolve.

When the world shall have got rid of the still overpowering influence of the first part, it will be seen that the fundamental idea is never lost sight of in the second. The change is that Goethe, though the same thinker, is no longer the same person.

The continuation of Faust in the practical sense of the education of a man is to be found in Wilhelm Meister. Here we see the change by strongest contrast. The mainspring of action is no longer the impassioned and noble seeker, but a disciple of circumstance, whose most marked characteristic is a taste for virtue and knowledge. Wilhelm certainly prefers these conditions of existence to their opposites, but there is nothing so decided in his character as to prevent his turning a clear eye on every part of that variegated world-scene which the writer wished to place before us.

To see all till he knows all sufficiently to put objects into their relations, then to concentrate his powers and use his knowledge under recognized conditions,--such is the progress of man from Apprentice to Master.

'Tis pity that the volumes of the Wanderjahre have not been translated entire, as well as those of the Lehrjahre, for many, who have read the latter only, fancy that Wilhelm becomes a master in that work. Far from it; he has but just become conscious of the higher powers that have ceaselessly been weaving his fate. Far from being as yet a Master, he but now begins to be a Knower. In the Wanderjahre we find him gradually learning the duties of citizenship, and hardening into manhood, by applying what he has learned for himself to the education of his child. He converses on equal terms with the wise and beneficent; he is no longer duped and played with for his good, but met directly mind to mind.

Wilhelm is a master when he can command his actions, yet keep his mind always open to new means of knowledge; when he has looked at various ways of living, various forms of religion and of character, till he has learned to be tolerant of all, discerning of good in all; when the astronomer imparts to his equal ear his highest thoughts, and the poor cottager seeks his aid as a patron and counsellor.

To be capable of all duties, limited by none, with an open eye, a skilful and ready hand, an assured step, a mind deep, calm, foreseeing without anxiety, hopeful without the aid of illusion,--such is the ripe state of manhood. This attained, the great soul should still seek and labor, but strive and battle never more.

The reason for Goethe's choosing so negative a character as Wilhelm, and leading him through scenes of vulgarity and low vice, would be obvious enough to a person of any depth of thought, even if he himself had not announced it. He thus obtained room to paint life as it really is, and bring forward those slides in the magic lantern which are always known to exist, though they may not be spoken of to ears polite.

Wilhelm cannot abide in tradition, nor do as his fathers did before him, merely for the sake of money or a standing in society. The stage, here an emblem of the ideal life as it gleams before unpractised eyes, offers, he fancies, opportunity for a life of thought as distinguished from one of routine. Here, no longer the simple citizen, but Man, all Men, he will rightly take upon himself the different aspects of life, till poet-wise, he shall have learned them all.

No doubt the attraction of the stage to young persons of a vulgar character is merely the brilliancy of its trappings; but to Wilhelm, as to Goethe, it was this poetic freedom and daily suggestion which seemed likely to offer such an agreeable studio in the greenroom.

But the ideal must be rooted in the real, else the poet's life degenerates into buffoonery or vice. Wilhelm finds the characters formed by this would-be ideal existence more despicable than those which grew up on the track, dusty and bustling and dull as it had seemed, of common life. He is prepared by disappointment for a higher ambition.

In the house of the count he finds genuine elegance, genuine sentiment, but not sustained by wisdom, or a devotion to important objects. This love, this life, is also inadequate.

Now, with Teresa he sees the blessings of domestic peace. He sees a mind sufficient for itself, finding employment and education in the perfect economy of a little world. The lesson is pertinent to the state of mind in which his former experiences have left him, as indeed our deepest lore is won from reaction. But a sudden change of scene introduces him to the society of the sage and learned uncle, the sage and beneficent Natalia. Here he finds the same virtues as with Teresa, and enlightened by a larger wisdom.

A friend of mine says that his ideal of a friend is a worthy aunt, one who has the tenderness without the blindness of a mother, and takes the same charge of the child's mind as the mother of its body. I don't know but this may have a foundation in truth, though, if so, auntism, like other grand professions, has sadly degenerated. At any rate, Goethe seems to be possessed with a similar feeling. The Count de Thorane, a man of powerful character, who made a deep impression on his childhood, was, he says, "reverenced by me as an uncle." And the ideal wise man of this common life epic stands before us as "The Uncle."

After seeing the working of just views in the establishment of the uncle, learning piety from the Confessions of a Beautiful Soul, and religious beneficence from the beautiful life of Natalia, Wilhelm is deemed worthy of admission to the society of the Illuminati, that is, those who have pierced the secret of life, and know what it is to be and to do.

Here he finds the scroll of his life "drawn with large, sharp strokes," that is, these truly wise read his character for him, and "mind and destiny are but two names for one idea."

He now knows enough to enter on the Wanderjahre.

Goethe always represents the highest principle in the feminine form. Woman is the Minerva, man the Mars. As in the Faust, the purity of Gretchen, resisting the demon always, even after all her faults, is announced to have saved her soul to heaven; and in the second part she appears, not only redeemed herself, but by her innocence and forgiving tenderness hallowed to redeem the being who had injured her.

So in the Meister, these women hover around the narrative, each embodying the spirit of the scene. The frail Philina, graceful though contemptible, represents the degradation incident to an attempt at leading an exclusively poetic life. Mignon, gift divine as ever the Muse bestowed on the passionate heart of man, with her soft, mysterious inspiration, her pining for perpetual youth, represents the high desire that leads to this mistake, as Aurelia, the desire for excitement; Teresa, practical wisdom, gentle tranquillity, which seem most desirable after the Aurelia glare. Of the beautiful soul and Natalia we have already spoken. The former embodies what was suggested to Goethe by the most spiritual person he knew in youth--Mademoiselle von Klettenberg, over whom, as he said, in her invalid loneliness the Holy Ghost brooded like a dove.

Entering on the Wanderjahre, Wilhelm becomes acquainted with another woman, who seems the complement of all the former, and represents the idea which is to guide and mould him in the realization of all the past experience.

This person, long before we see her, is announced in various ways as a ruling power. She is the last hope in cases of difficulty, and, though an invalid, and living in absolute retirement, is consulted by her connections and acquaintance as an unerring judge in all their affairs.

All things tend towards her as a centre; she knows all, governs all, but never goes forth from herself.

Wilhelm at last visits her. He finds her infirm in body, but equal to all she has to do. Charity and counsel to men who need her are her business, astronomy her pleasure.

After a while, Wilhelm ascertains from the Astronomer, her companion, what he had before suspected, that she really belongs to the solar system, and only appears on earth to give men a feeling of the planetary harmony. From her youth up, says the Astronomer, till she knew me, though all recognized in her an unfolding of the highest moral and intellectual qualities, she was supposed to be sick at her times of clear vision. When her thoughts were not in the heavens, she returned and acted in obedience to them on earth; she was then said to be well.

When the Astronomer had observed her long enough, he confirmed her inward consciousness of a separate existence and peculiar union with the heavenly bodies.

Her picture is painted with many delicate traits, and a gradual preparation leads the reader to acknowledge the truth; but, even in the slight indication here given, who does not recognize thee, divine Philosophy, sure as the planetary orbits, and inexhaustible as the fountain of light, crowning the faithful Seeker at last with the privilege to possess his own soul.

In all that is said of Macaria,[4] we recognize that no thought is too religious for the mind of Goethe. It was indeed so; you can deny him nothing, but only feel that his works are not instinct and glowing with the central fire, and, after catching a glimpse pf the highest truth, are forced again to find him too much afraid of losing sight of the limitations of nature to overflow you or himself with the creative spirit.

While the apparition of the celestial Macaria seems to announce the ultimate destiny of the soul of man, the practical application of all Wilhelm has thus painfully acquired is not of pure Delphian strain. Goethe draws, as he passes, a dart from the quiver of Phoebus, but ends as Æsculapius or Mercury. Wilhelm, at the school of the Three Reverences, thinks out what can be done for man in his temporal relations. He learns to practise moderation, and even painful renunciation. The book ends, simply indicating what the course of his life will be, by making him perform an act of kindness, with good judgment and at the right moment.

Surely the simple soberness of Goethe should please at least those who style themselves, preëminently, people of common sense.

The following remarks are by the celebrated Rahel von Ense, whose discernment as to his works was highly prized by Goethe.

"_Don Quixote and Wilhelm Meister_!

"Embrace one another, Cervantes and Goethe!

"Both, using their own clear eyes, vindicated human nature. They saw the champions through their errors and follies, looking down into the deepest soul, seeing there the true form. _Respectable_ people call the Don as well as Meister a fool, wandering hither and thither, transacting no business of real life, bringing nothing to pass, scarce even knowing what he ought to think on any subject, very unfit for the hero of a romance. Yet has our sage known how to paint the good and honest mind in perpetual toil and conflict with the world, as it is embodied; never sharing one moment the impure confusion; always striving to find fault with and improve itself, always so innocent as to see others far better than they are, and generally preferring them to itself, learning from all, indulging all except the manifestly base; the more you understand, the more you respect and love this character. Cervantes has painted the knight, Goethe the culture of the entire man,--both their own time."

But those who demand from him a life-long continuance of the early ardor of Faust, who wish to see, throughout his works, not only such manifold beauty and subtle wisdom, but the clear assurance of divinity, the pure white light of Macaria, wish that he had not so variously unfolded his nature, and concentred it more. They would see him slaying the serpent with the divine wrath of Apollo, rather than taming it to his service, like Æsculapius. They wish that he had never gone to Weimar, had never become a universal connoisseur and dilettante in science, and courtier as "graceful as a born nobleman," but had endured the burden of life with the suffering crowd, and deepened his nature in loneliness and privation, till Faust had conquered, rather than cheated the devil, and the music of heavenly faith superseded the grave and mild eloquence of human wisdom.

The expansive genius which moved so gracefully in its self imposed fetters, is constantly surprising us by its content with a choice low, in so far as it was not the highest of which the mind was capable. The secret may be found in the second motto of this slight essay.

"He who would do great things must quickly draw together his forces. The master can only show himself such through limitation, and the law alone can give us freedom."

But there is a higher spiritual law always ready to supersede the temporal laws at the call of the human soul. The soul that is too content with usual limitations will never call forth this unusual manifestation.

If there be a tide in the affairs of men, which must be taken at the right moment to lead on to fortune, it is the same with inward as with outward life. He who, in the crisis hour of youth, has stopped short of himself, is not likely to find again what he has missed in one life, for there are a great number of blanks to a prize in each lottery.

But the pang we feel that "those who are so much are not more," seems to promise new spheres, new ages, new crises to enable these beings to complete their circle.

Perhaps Goethe is even now sensible that he should not have stopped at Weimar as his home, but made it one station on the way to Paradise; not stopped at humanity, but regarded it as symbolical of the divine, and given to others to feel more distinctly the centre of the universe, as well as the harmony in its parts. It is great to be an Artist, a Master, greater still to be a Seeker till the Man has found all himself.

What Goethe meant by self-collection was a collection of means for work, rather than to divine the deepest truths of being. Thus are these truths always indicated, never declared; and the religious hope awakened by his subtle discernment of the workings of nature never gratified, except through the intellect.

He whose prayer is only work will not leave his treasure in the secret shrine.

One is ashamed when finding any fault with one like Goethe, who is so great. It seems the only criticism should be to do all he omitted to do, and that none who cannot is entitled to say a word. Let that one speak who was all Goethe was not,--noble, true, virtuous, but neither wise nor subtle in his generation, a divine ministrant, a baffled man, ruled and imposed on by the pygmies whom he spurned, an heroic artist, a democrat to the tune of Burns:

"The rank is but the guinea's stamp; The man's the gowd for a' that."

Hear Beethoven speak of Goethe on an occasion which brought out the two characters in strong contrast.

Extract from a letter of Beethoven to Bettina Brentano Töplitz, 1812.

"Kings and princes can indeed make professors and privy councillors, and hang upon them titles; but great men they cannot make; souls that rise above the mud of the world, these they must let be made by other means than theirs, and should therefore show them respect. When two such as I and Goethe come together, then must great lords observe what is esteemed great by one of us. Coming home yesterday we met the whole imperial family. We saw them coming, and Goethe left me and insisted on standing one side; let me say what I would, I could not make him come on one step. I pressed my hat upon my head, buttoned my surtout, and passed on through the thickest crowd. Princes and parasites made way; the Archduke Rudolph took off his hat; the empress greeted me first. Their highnesses KNOW ME. I was well amused to see the crowd pass by Goethe. At the side stood he, hat in hand, low bowed in reverence till all had gone by. Then I scolded him well; I gave no pardon, but reproached him with all his sins, most of all those towards you, dearest Bettina; we had just been talking of you."

If Beethoven appears, in this scene, somewhat arrogant and bearish, yet how noble his extreme compared with the opposite! Goethe's friendship with the grand duke we respect, for Karl August was a strong man. But we regret to see at the command of any and all members of the ducal family, and their connections, who had nothing but rank to recommend them, his time and thoughts, of which he was so chary to private friends. Beethoven could not endure to teach the Archduke Rudolph, who had the soul duly to revere his genius, because he felt it to be "hofdíenst," court service. He received with perfect nonchalance the homage of the sovereigns of Europe. Only the Empress of Russia and the Archduke Karl, whom he esteemed as individuals, had power to gratify him by their attentions. Compare with, Goethe's obsequious pleasure at being able gracefully to compliment such high personages, Beethoven's conduct with regard to the famous Heroic Symphony. This was composed at the suggestion of Bernadotte, while Napoleon was still in his first glory. He was then the hero of Beethoven's imagination, who hoped from him the liberation of Europe. With delight the great artist expressed in his eternal harmonies the progress of the Hero's soul. The symphony was finished, and even dedicated to Bonaparte, when the news came of his declaring himself Emperor of the French. The first act of the indignant artist was to tear off his dedication and trample it under foot; nor could he endure again even the mention of Napoleon until the time of his fall.

Admit that Goethe had a natural taste for the trappings of rank and wealth, from which the musician was quite free, yet we cannot doubt that both saw through these externals to man as a nature; there can be no doubt on whose side was the simple greatness, the noble truth. We pardon thee, Goethe,--but thee, Beethoven, we revere, for thou hast maintained the worship of the Manly, the Permanent, the True!

The clear perception which was in Goethe's better nature of the beauty of that steadfastness, of that singleness and simple melody of soul, which he too much sacrificed to become "the many-sided One," is shown most distinctly in his two surpassingly beautiful works, The Elective Affinities and Iphigenia.

Not Werther, not the Nouvelle Héloise, have been assailed with such a storm of indignation as the first-named of these works, on the score of gross immorality.

The reason probably is the subject; any discussion of the validity of the marriage vow making society tremble to its foundation; and, secondly, the cold manner in which it is done. All that is in the book would be bearable to most minds if the writer had had less the air of a spectator, and had larded his work here and there with ejaculations of horror and surprise.

These declarations of sentiment on the part of the author seem to be required by the majority of readers, in order to an interpretation of his purpose, as sixthly, seventhly, and eighthly were, in an old-fashioned sermon, to rouse the audience to a perception of the method made use of by the preacher.

But it has always seemed to me that those who need not such helps to their discriminating faculties, but read a work so thoroughly as to apprehend its whole scope and tendency, rather than hear what the author says it means, will regard the Elective Affinities as a work especially what is called moral in its outward effect, and religious even to piety in its spirit. The mental aberrations of the consorts from their plighted faith, though in the one case never indulged, and though in the other no veil of sophistry is cast over the weakness of passion, but all that is felt expressed with the openness of one who desires to legitimate what he feels, are punished by terrible griefs and a fatal catastrophe. Ottilia, that being of exquisite purity, with intellect and character so harmonized in feminine beauty, as they never before were found in any portrait of woman painted by the hand of man, perishes, on finding she has been breathed on by unhallowed passion, and led to err even by her ignorant wishes against what is held sacred. The only personage whom we do not pity is Edward, for he is the only one who stifles the voice of conscience.

There is indeed a sadness, as of an irresistible fatality, brooding over the whole. It seems as if only a ray of angelic truth could have enabled these men to walk wisely in this twilight, at first so soft and alluring, then deepening into blind horror.

But if no such ray came to prevent their earthly errors, it seems to point heavenward in the saintly sweetness of Ottilia. Her nature, too fair for vice, too finely wrought even for error, comes lonely, intense, and pale, like the evening star on the cold, wintry night. It tells of other worlds, where the meaning of such strange passages as this must be read to those faithful and pure like her, victims perishing in the green garlands of a spotless youth to atone for the unworthiness of others.

An unspeakable pathos is felt from the minutest trait of this character, and deepens with every new study of it. Not even in Shakspeare have I so felt the organizing power of genius. Through dead words I find the least gestures of this person, stamping themselves on my memory, betraying to the heart the secret of her life, which she herself, like all these divine beings, knew not. I feel myself familiarized with all beings of her order. I see not only what she was, but what she might have been, and live with her in yet untrodden realms.

Here is the glorious privilege of a form known only in the world of genius. There is on it no stain of usage or calculation to dull our sense of its immeasurable life. What in our daily walk, mid common faces and common places, fleets across us at moments from glances of the eye, or tones of the voice, is felt from the whole being of one of these children of genius.

This precious gem is set in a ring complete in its enamel. I cannot hope to express my sense of the beauty of this book as a work of art. I would not attempt it if I had elsewhere met any testimony to the same. The perfect picture, always before the mind, of the chateau, the moss hut, the park, the garden, the lake, with its boat and the landing beneath the platan trees; the gradual manner in which both localities and persons grow upon us, more living than life, inasmuch as we are, unconsciously, kept at our best temperature by the atmosphere of genius, and thereby more delicate in our perceptions than amid our customary fogs; the gentle unfolding of the central thought, as a flower in the morning sun; then the conclusion, rising like a cloud, first soft and white, but darkening as it comes, till with a sudden wind it bursts above our heads; the ease with which we every where find points of view all different, yet all bearing on the same circle, for, though we feel every hour new worlds, still before our eye lie the same objects, new, yet the same, unchangeable, yet always changing their aspects as we proceed, till at last we find we ourselves have traversed the circle, and know all we overlooked at first,--these things are worthy of our highest admiration.

For myself, I never felt so completely that very thing which genius should always make us feel--that I was in its circle, and could not get out till its spell was done, and its last spirit permitted to depart. I was not carried away, instructed, delighted more than by other works, but I was _there_, living there, whether as the platan tree, or the architect, or any other observing part of the scene. The personages live too intensely to let us live in them; they draw around themselves circles within the circle; we can only see them close, not be themselves.

Others, it would seem, on closing the book, exclaim, "What an immoral book!" I well remember my own thought, "It is a work of art!" At last I understood that world within a world, that ripest fruit of human nature, which is called art. With each perusal of the book my surprise and delight at this wonderful fulfilment of design grew. I understood why Goethe was well content to be called Artist, and his works, works of Art, rather than revelations. At this moment, remembering what I then felt, I am inclined to class all my negations just written on this paper as stuff, and to look upon myself, for thinking them, with as much contempt as Mr. Carlyle, or Mrs. Austin, or Mrs. Jameson might do, to say nothing of the German Goetheans.

Yet that they were not without foundation I feel again when I turn to the Iphigenia--a work beyond the possibility of negation; a work where a religious meaning not only pierces but enfolds the whole; a work as admirable in art, still higher in significance, more single in expression.

There is an English translation (I know not how good) of Goethe's Iphigenia. But as it may not be generally known, I will give a sketch of the drama. Iphigenia, saved, at the moment of the sacrifice made by Agamemnon in behalf of the Greeks, by the goddess, and transferred to the temple at Tauris, appears alone in the consecrated grove. Many years have passed since she was severed from the home of such a tragic fate, the palace of Mycenæ. Troy had fallen, Agamemnon been murdered, Orestes had grown up to avenge his death. All these events were unknown to the exiled Iphigenia. The priestess of Diana in a barbarous land, she had passed the years in the duties of the sanctuary, and in acts of beneficence. She had acquired great power over the mind of Thoas, king of Tauris, and used it to protect strangers, whom it had previously been the custom of the country to sacrifice to the goddess.

She salutes us with a soliloquy, of which I give a rude translation:--

Beneath your shade, living summits Of this ancient, holy, thick-leaved grove, As in the silent sanctuary of the Goddess, Still I walk with those same shuddering feelings, As when I trod these walks for the first time. My spirit cannot accustom itself to these places; Many years now has kept me here concealed A higher will, to which I am submissive; Yet ever am I, as at first, the stranger; For ah! the sea divides me from my beloved ones, And on the shore whole days I stand, Seeking with my soul the land of the Greeks, And to my sighs brings the rushing wave only Its hollow tones in answer. Woe to him who, far from parents, and brothers, and sisters, Drags on a lonely life. Grief consumes The nearest happiness away from his lips; His thoughts crowd downwards-- Seeking the hall of his fathers, where the Sun First opened heaven to him, and kindred-born In their first plays knit daily firmer and firmer The bond from heart to heart--I question not the Gods, Only the lot of woman is one of sorrow; In the house and in the war man rules, Knows how to help himself in foreign lands, Possessions gladden and victory crowns him, And an honorable death stands ready to end his days. Within what narrow limits is bounded the luck of woman! To obey a rude husband even is duty and comfort; how sad When, instead, a hostile fate drives her out of her sphere! So holds me Thoas, indeed a noble man, fast In solemn, sacred, but slavish bonds. O, with shame I confess that with secret reluctance I serve thee, Goddess, thee, my deliverer. My life should freely have been dedicate to thee, But I have always been hoping in thee, O Diana, Who didst take in thy soft arms me, the rejected daughter Of the greatest king! Yes, daughter of Zeus, I thought if thou gavest such anguish to him, the high hero, The godlike Agamemnon; Since he brought his dearest, a victim, to thy altar, That, when he should return, crowned with glory, from Ilium, At the same time thou would'st give to his arms his other treasures, His spouse, Electra, and the princely son; Me also, thou would'st restore to mine own, Saving a second time me, whom from death thou didst save, From this worse death,--the life of exile here.

These are the words and thoughts; but how give an idea of the sweet simplicity of expression in the original, where every word has the grace and softness of a flower petal?

She is interrupted by a messenger from the king, who prepares her for a visit from himself of a sort she has dreaded. Thoas, who has always loved her, now left childless by the calamities of war, can no longer resist his desire to reanimate by her presence his desert house. He begins by urging her to tell him the story of her race, which she does in a way that makes us feel as if that most famous tragedy had never before found a voice, so simple, so fresh in its naïveté is the recital.

Thoas urges his suit undismayed by the fate that hangs over the race of Tantalus.

THOAS.

Was it the same Tantalus, Whom Jupiter called to his council and banquets, In whose talk so deeply experienced, full of various learning, The Gods delighted as in the speech of oracles?

IPHIGENIA.

It is the same, but the Gods should not Converse with men, as with their equals. The mortal race is much too weak Not to turn giddy on unaccustomed heights. He was not ignoble, neither a traitor, But for a servant too great, and as a companion Of the great Thunderer only a man. So was His fault also that of a man, its penalty Severe, and poets sing--Presumption And faithlessness cast him down from the throne of Jove, Into the anguish of ancient Tartarus; Ah, and all his race bore their hate.

THOAS.

Bore it the blame of the ancestor, or its own?

IPHIGENIA.

Truly the vehement breast and powerful life of the Titan Were the assured inheritance of son and grandchild; But the Gods bound their brows with a brazen band, Moderation, counsel, wisdom, and patience Were hid from their wild, gloomy glance, Each desire grew to fury, And limitless ranged their passionate thoughts.

Iphigenia refuses with gentle firmness to give to gratitude what was not due. Thoas leaves her in anger, and, to make her feel it, orders that the old, barbarous custom be renewed, and two strangers just arrived be immolated at Diana's altar.

Iphigenia, though distressed, is not shaken by this piece of tyranny. She trusts her heavenly protectress will find some way for her to save these unfortunates without violating her truth.

The strangers are Orestes and Pylades, sent thither by the oracle of Apollo, who bade them go to Tauris and bring back "The Sister;" thus shall the heaven-ordained parricide of Orestes be expiated, and the Furies cease to pursue him.

The Sister they interpret to be Dian, Apollo's sister; but Iphigenia, sister to Orestes, is really meant.

The next act contains scenes of most delicate workmanship, first between the light-hearted Pylades, full of worldly resource and ready tenderness, and the suffering Orestes, of far nobler, indeed heroic nature, but less fit for the day and more for the ages. In the first scene the characters of both are brought out with great skill, and the nature of the bond between "the butterfly and the dark flower," distinctly shown in few words.

The next scene is between Iphigenia and Pylades. Pylades, though he truly answers the questions of the priestess about the fate of Troy and the house of Agamemnon, does not hesitate to conceal from her who Orestes really is, and manufactures a tissue of useless falsehoods with the same readiness that the wise Ulysses showed in exercising his ingenuity on similar occasions.

It is said, I know not how truly, that the modern Greeks are Ulyssean in this respect, never telling straightforward truth, when deceit will answer the purpose; and if they tell any truth, practising the economy of the King of Ithaca, in always reserving a part for their own use. The character which this denotes is admirably hit off with few strokes in Pylades, the fair side of whom Iphigenia thus paints in a later scene.

Bless, ye Gods, our Pylades, And whatever he may undertake; He is the arm of the youth in battle, The light-giving eye of the aged man in the council. For his soul is still; it preserves The holy possession of Repose unexhausted, And from its depths still reaches Help and advice to those tossed to and fro.

Iphigenia leaves him in sudden agitation, when informed of the death of Agamemnon. Returning, she finds in his place Orestes, whom she had not before seen, and draws from him by her artless questions the sequel to this terrible drama wrought by his hand. After he has concluded his narrative, in the deep tones of cold anguish, she cries,--

Immortals, you who through your bright days Live in bliss, throned on clouds ever renewed, Only for this have you all these years Kept me separate from men, and so near yourselves, Given me the child-like employment to cherish the fires on your altars, That my soul might, in like pious clearness, Be ever aspiring towards your abodes, That only later and deeper I might feel The anguish and horror that have darkened my house. O Stranger, Speak to me of the unhappy one, tell me of Orestes.

ORESTES.

O, might I speak of his death! Vehement flew up from the reeking blood His Mother's Soul! And called to the ancient daughters of Night, Let not the parricide escape; Pursue that man of crime; he is yours! They obey, their hollow eyes Darting about with vulture eagerness; They stir themselves in their black dens, From corners their companions Doubt and Remorse steal out to join them. Before them roll the mists of Acheron; In its cloudy volumes rolls The eternal contemplation of the irrevocable Permitted now in their love of ruin they tread The beautiful fields of a God-planted earth, From which they had long been banished by an early curse, Their swift feet follow the fugitive, They pause never except to gather more power to dismay.

IPHIGENIA.

Unhappy man, thou art in like manner tortured, And feelest truly what he, the poor fugitive, suffers!

ORESTES.

What sayest thou? what meanest by "like manner"?

IPHIGENIA.

Thee, too, the weight of a fratricide crushes to earth; the tale I had from thy younger brother.

ORESTES.

I cannot suffer that thou, great soul, Shouldst be deceived by a false tale; A web of lies let stranger weave for stranger Subtle with many thoughts, accustomed to craft, Guarding his feet against a trap. But between us Be Truth;-- I am Orestes,--and this guilty head Bent downward to the grave seeks death; In any shape were he welcome. Whoever thou art, I wish thou mightst be saved, Thou and my friend; for myself I wish it not. Thou seem'st against thy will here to remain; Invent a way to fly and leave me here.

Like all pure productions of genius, this may be injured by the slightest change, and I dare not flatter myself that the English words give an idea of the heroic dignity expressed in the cadence of the original, by the words

"Twischen uns Seg Wahrheit! Ich bin Orest!"

where the Greek seems to fold his robe around him in the full strength of classic manhood, prepared for worst and best, not like a cold Stoic, but a hero, who can feel all, know all, and endure all. The name of two syllables in the German is much more forcible for the pause, than the three-syllable Orestes.

"Between us Be Truth,"

is fine to my ear, on which our word Truth also pauses with a large dignity.

The scenes go on more and more full of breathing beauty. The lovely joy of Iphigenia, the meditative softness with which the religiously educated mind perpetually draws the inference from the most agitating events, impress us more and more. At last the hour of trial comes. She is to keep off Thoas by a cunningly devised tale, while her brother and Pylades contrive their escape. Orestes has received to his heart the sister long lost, divinely restored, and in the embrace the curse falls from him, he is well, and Pylades more than happy. The ship waits to carry her to the palace home she is to free from a century's weight of pollution; and already the blue heavens of her adored Greece gleam before her fancy.

But, O, the step before all this can be obtained;--to deceive Thoas, a savage and a tyrant indeed, but long her protector,--in his barbarous fashion, her benefactor! How can she buy life, happiness, or even the safety of those dear ones at such a price?

"Woe, O Woe upon the lie! It frees not the breast, Like the true-spoken word; it comforts not, but tortures Him who devised it, and returns, An arrow once let fly, God-repelled, back, On the bosom of the Archer!"

O, must I then resign the silent hope Which gave a beauty to my loneliness? Must the curse dwell forever, and our race Never be raised to life by a new blessing? All things decay, the fairest bliss is transient, The powers most full of life grow faint at last; And shall a curse alone boast an incessant life?

Then have I idly hoped that here kept pure, So strangely severed from my kindred's lot, I was designed to come at the right moment, And with pure hand and heart to expiate The many sins that stain my native home. To lie, to steal the sacred image! Olympians, let not these vulture talons Seize on the tender breast. O, save me, And save your image in my soul!

Within my ears resounds the ancient lay,-- I had forgotten it, and would so gladly,-- The lay of the Parcæ, which they awful sung; As Tantalus fell from his golden seat They suffered with the noble friend. Wrathful Was their heart, and fearful was the song. In our childhood the nurse was wont to sing it To me, and my brother and sister. I marked it well.

Then follows the sublime song of the Parcæ, well known through translations.

But Iphigenia is not a victim of fate, for she listens steadfastly to the god in her breast. Her lips are incapable of subterfuge. She obeys her own heart, tells all to the king, calls up his better nature, wins, hallows, and purifies all around her, till the heaven-prepared way is cleared by the obedient child of heaven, and the great trespass of Tantalus cancelled by a woman's reliance on the voice of her innocent soul.

If it be not possible to enhance the beauty with which such ideal figures as the Iphigenia and the Antigone appeared to the Greek mind, yet Goethe has unfolded a part of the life of this being, unknown elsewhere in the records of literature. The character of the priestess, the full beauty of virgin womanhood, solitary, but tender, wise and innocent, sensitive and self-collected, sweet as spring, dignified as becomes the chosen servant of God, each gesture and word of deep and delicate significance,--where else is such a picture to be found?

It was not the courtier, nor the man of the world, nor the connoisseur, nor the friend of Mephistopheles, nor Wilhelm the Master, nor Egmont the generous, free liver, that saw Iphigenia in the world of spirits, but Goethe, in his first-born glory; G[o]ethe, the poet; Goethe, designed to be the brightest star in a new constellation. Let us not, in surveying his works and life, abide with him too much in the suburbs and outskirts of himself. Let us enter into his higher tendency, thank him for such angels as Iphigenia, whose simple truth mocks at all his wise "Beschrankungen," and hope the hour when, girt about with many such, he will confess, contrary to his opinion, given in his latest days, that it is well worth while to live seventy years, if only to find that they are nothing in the sight of God.

THOMAS HOOD.

Now almost the last light has gone out of the galaxy that made the first thirty years of this age so bright. And the dynasty that now reigns over the world of wit and poetry is poor and pale, indeed, in comparison.

We are anxious to pour due libations to the departed; we need not economize our wine; it will not be so often needed now.

Hood has closed the most fatiguing career in the world--that of a professed wit; and we may say with deeper feeling than of others who shuffle off the load of care, May he rest in peace! The fatigues of a conqueror, a missionary preacher, even of an active philanthropist, like Howard, are nothing to those of a professed wit. Bad enough is it when he is only a man of society, by whom every one expects to be enlivened and relieved; who can never talk gravely in a corner, without those around observing that he must have heard some bad news to be so out of spirits; who can never make a simple remark, while eating a peaceful dinner, without the table being set in a roar of laughter, as when Sheridan, on such an occasion, opened his lips for the first time to say that "he liked currant jelly." For these unhappy men there are no intervals of social repose, no long silences fed by the mere feeling of sympathy or gently entertained by observation, no warm quietude in the mild liveries of green or brown, for the world has made up its mind that motley is their only wear, and teases them to jingle their bells forever.

But far worse is it when the professed wit is also by profession a writer, and finds himself obliged to coin for bread those jokes which, in the frolic exuberance of youth, he so easily coined for fun. We can conceive of no existence more cruel, so tormenting, and at the same time so dull. We hear that Hood was forever behindhand with his promises to publishers; no wonder! But when we hear that he, in consequence, lost a great part of the gains of his hard life, and was, as a result, harassed by other cares, we cannot mourn to lose him, if,

"After life's fitful fever, he sleeps well;"

or if, as our deeper knowledge leads us to hope, he is now engaged in a better life, where his fancies shall take their natural place, and flicker like light on the surface of a profound and full stream flowing betwixt rich and peaceful shores, such as, no less than the drawbacks upon his earthly existence, are indicated in the following

SONNET.

The curse of Adam, the old curse of all, Though I inherit in this feverish life Of worldly toil, vain wishes, and hard strife, And fruitless thought in care's eternal thrall, Yet more sweet honey than of bitter gall I taste through thee, my Eva, my sweet wife. Then what was Man's lost Paradise? how rife Of bliss, since love is with him in his fall! Such as our own pure passion still might frame Of this fair earth and its delightful bowers, If no fell sorrow, like the serpent, came To trail its venom o'er the sweetest flowers; But, O! as many and such tears are ours As only should be shed for guilt and shame.

In Hood, as in all true wits, the smile lightens on the verge of a tear. True wit and humor show that exquisite sensibility to the relations of life, that fine perception as to slight tokens of its fearful, hopeless mysteries, which imply pathos to a still higher degree than mirth.

Hood knew and welcomed the dower which nature gave him at his birth, when he wrote thus:--

All things are touched with melancholy Born of the secret soul's mistrust, To feel her fair ethereal wings Weighed down with vile, degraded dust. Even the bright extremes of joy Bring on conclusions of disgust, Like the sweet blossoms of the May, Whose fragrance ends in must. O, give her, then, her tribute just, Her sighs and tears and musings holy; There is no music in the life That sounds with idiot laughter solely; There's not a string attuned to mirth, But has its chord in melancholy.

Hood was true to this vow of acceptance. He vowed to accept willingly the pains as well as joys of life for what they could teach. Therefore, years expanded and enlarged his sympathies, and gave to his lightest jokes an obvious harmony with a great moral design, not obtrusively obvious, but enough so to give a sweetness and permanent complacency to our laughter. Indeed, what is written in his gayer mood has affected us more, as spontaneous productions always do, than what he has written of late with grave design, and which has been so much lauded by men too obtuse to discern a latent meaning, or to believe in a good purpose unless they are formally told that it exists.

The later serious poems of Hood are well known; so are his jest books and novel. We have now in view to speak rather of a little volume of poems published by him, some years since, republished here, but never widely circulated.

When a book or a person comes to us in the best possible circumstances, we judge--not too favorably, for all that the book or person can suggest is a part of its fate, and what is not seen under the most favorable circumstances is never quite truly seen either as to promise or performance--but we form a judgment above what can be the average sense of the world in general as to its merits, which may be esteemed, after time enough has elapsed, a tolerably fair estimate of performance, though not of promise or suggestion.

We became acquainted with these poems in one of those country towns which would be called, abroad, the most provincial of the province. The inhabitants had lost the simplicity of farmers' habits, without gaining in its place the refinement, the variety, the enlargement of civic life. Their industry had received little impulse from thought; their amusement was gossip. All men find amusement from gossip--literary, artistic, or social; but the degrees in it are almost infinite. They were at the bottom of the scale; they scrutinized their neighbors' characters and affairs incessantly, impertinently, and with minds unpurified by higher knowledge; consequently the bitter fruits of envy and calumny abounded.

In this atmosphere I was detained two months, and among people very uncongenial both to my tastes and notions of right. But I had a retreat of great beauty. The town lay on the bank of a noble river; behind it towered a high and rocky hill. Thither every afternoon went the lonely stranger, to await the fall of the sunset light on the opposite bank of the full and rapid stream. It fell like a smile of heavenly joy; the white sails on the stream glided along like angel thoughts; the town itself looked like a fair nest, whence virtue and happiness might soar with sweetest song. So looked the scene _from above_; and that hill was the scene of many an aspiration and many an effort to attain as high a point of view for the mental prospect, in the hope that little discrepancies, or what seemed so when on a level with them, might also, from above, be softened into beauty and found subservient to a noble design on the whole.

This town boasted few books, and the accident which threw Hood's poems in the way of the watcher from the hill, was a very fortunate one. They afforded a true companionship to hours which knew no other, and, perhaps, have since been overrated from association with what they answered to or suggested.

Yet there are surely passages in them which ought to be generally known and highly prized. And if their highest value be for a few individuals with whom they are especially in concord, unlike the really great poems which bring something to all, yet those whom they please will be very much pleased.

Hood never became corrupted into a hack writer. This shows great strength under his circumstances. Dickens has fallen, and Sue is falling; for few men can sell themselves by inches without losing a cubit from their stature. But Hood resisted the danger. He never wrote when he had nothing to say, he stopped when he had done, and never hashed for a second meal old thoughts which had been drained of their choicest juices. His heart is truly human, tender, and brave. From the absurdities of human nature he argues the possibility of its perfection. His black is admirably contrasted with his white, but his love has no converse of hate. His descriptions of nature, if not accurately or profoundly evidencing insight, are unstudied, fond, and reverential. They are fine reveries about nature.

He has tried his powers on themes where he had great rivals--in the "Plea of the Midsummer Fairies," and "Hero and Leander." The latter is one of the finest subjects in the world, and one, too, which can never wear out as long as each mind shall have its separate ideal of what a meeting would be between two perfect lovers, in the full bloom of beauty and youth, under circumstances the most exalting to passion, because the most trying, and with the most romantic accompaniments of scenery. There is room here for the finest expression of love and grief, for the wildest remonstrance against fate. Why are they made so lovely and so beloved? Why was a flower brought to such perfection, and then culled for no use? One of the older English writers has written an exquisite poem on this subject, painting a youthful pair, fitted to be not only a heaven but a world to one another. Hood had not power to paint or conceive such fulness of character; but, in a lesser style, he has written a fine poem. The best part of it, however, is the innocent cruelty and grief of the Sea Siren.

"Lycus the Centaur" is also a poem once read never to be forgotten. The hasty trot of the versification, unfit for any other theme, on this betokens well the frightened horse. Its mazy and bewildered imagery, with its countless glancings and glimpses, expressed powerfully the working of the Circean spell, while the note of human sadness, a yearning and condemned human love, thrills through the whole and gives it unity.

The Sonnets, "It is not death," &c., and that on Silence, are equally admirable. Whoever reads these poems will regard Hood as something more than a great wit,--as a great poet also.

To express this is our present aim, and therefore we shall leave to others, or another time, the retrospect of his comic writings. But having, on the late promptings of love for the departed, looked over these, we have been especially amused with the "Schoolmistress Abroad," which was new to us. Miss Crane, a "she Mentor, stiff as starch, formal as a Dutch ledge, sensitive as a daguerreotype, and so tall, thin, and upright, that supposing the Tree of Knowledge to have been a poplar, she was the very Dryad to have fitted it," was left, with a sister little better endowed with the pliancy and power of adaptation which the exigencies of this varied world-scene demand, in attendance upon a sick father, in a foreign inn, where she cannot make herself understood, because her French is not "French French, but English French," and no two things in nature or art can be more unlike. Now look at the position of the sisters.

"The younger, Miss Ruth, was somewhat less disconcerted. She had by her position the greater share in the active duties of Lebanon House, and under ordinary circumstances would not have been utterly at a loss what to do for the comfort or relief of her parent. But in every direction in which her instinct and habits would have prompted her to look, the _materials_ she sought were deficient. There was no easy chair--no fire to wheel it to--no cushion to shake up--no cupboard to go to--no female friend to consult--no Miss Parfitt--no cook--no John to send for the doctor--no English--no French--nothing but that dreadful 'Gefullig,' or 'Ja Wohl,' and the equally incomprehensible 'Gnadige Frau!'

"'Der herr,' said the German coachman, 'ist sehr krank,' (the gentleman is very sick.)

"The last word had occurred so frequently on the organ of the Schoolmistress, that it had acquired in her mind some important significance.

"'Ruth, what is krank?'

"'How should I know?' retorted Ruth, with an asperity apt to accompany intense excitement and perplexity. 'In English, it's a thing that helps to pull the bell. But look at papa--do help to support him--you're good for nothing.'

"'I am, indeed,' murmured poor Miss Priscilla, with a gentle shake of her head, and a low, slow sigh of acquiescence. Alas! as she ran over the catalogue of her accomplishments, the more she remembered what she _could_ do for her sick parent, the more helpless and useless she appeared. For instance, she could have embroidered him a night-cap--or knitted him a silk purse--or plaited him a guard-chain--or cut him out a watch-paper--or ornamented his braces with bead-work--or embroidered his waistcoat--or worked him a pair of slippers--or openworked his pocket handkerchief. She could even, if such an operation would have been comforting or salutary, have roughcasted him with shell-work--or coated him with red or black seals--or encrusted him with blue alum--or stuck him all over with colored wafers--or festooned him.

"But alas! what would it have availed her poor dear papa in the spasmodics, if she had even festooned him, from top to toe, with little rice-paper roses?"

The comments of the female chorus, as the author reads aloud the sorrows of Miss Crane, are droll as Hood's drollest. Who can say more?

So farewell, gentle, generous, inventive, genial, and most amusing friend. We thank thee for both tears and laughter; tears which were not heart-breaking, laughter which was never frivolous or unkind. In thy satire was no gall, in the sting of thy winged wit no venom, in the pathos of thy sorrow no enfeebling touch! Thou hadst faults as a writer, we know not whether as a man; but who cares to name or even to note them? Surely there is enough on the sunny side of the peach to feed us and make us bless the tree from which it fell.

LETTERS FROM A LANDSCAPE PAINTER.[5]

This is a very pleasing book, and if the "Essays of Summer Hours" resemble it, we are not surprised at the favor with which they have been received, not only in this country, but in England.

The writer is, we believe, very young, and as these Essays have awakened in us a friendly expectation which he has time and talent to fulfil, we will, at this early hour, proffer our counsel on two points.

First. Avoid details, so directly personal, of emotion. A young and generous mind, seeing the deceit and cold reserve which so often palsy men who write, no less than those who act, may run into the opposite extreme. But frankness must be tempered by delicacy, or elevated into the region of poetry. You may tell the world at large what you please, if you make it of universal importance by transporting it into the field of general human interest. But your private griefs, merely _as_ yours, belong to yourself, your nearest friends, to Heaven and to nature. There is a limit set by good taste, or the sense of beauty, on such subjects, which each, who seeks, may find for himself.

Second. Be more sparing of your praise: above all, of its highest terms. We should have a sense of mental as well as moral honor, which, while it makes us feel the baseness of uttering merely hasty and ignorant censure, will also forbid that hasty and extravagant praise which strict truth will not justify. A man of honor wishes to utter no word to which he cannot adhere. The offices of Poet--of Hero-worship--are sacred, and he who has a heart to appreciate the excellent should call nothing excellent which falls short of being so. Leave yourself some incense worthy of the _best_; do not lavish it on the merely _good_. It is better to be too cool than extravagant in praise; and though mediocrity may be elated if it can draw to itself undue honors, true greatness shrinks from the least exaggeration of its claims. The truly great are too well aware how difficult is the attainment of excellence, what labors and sacrifices it requires, even from genius, either to flatter themselves as to their works, or to be otherwise than grieved at idolatry from others; and so, with best wishes, and a hope to meet again, we bid farewell to the "Landscape Painter."

BEETHOVEN.[6]

This book bears on its outside the title, "Life of Beethoven, by Moscheles." It is really only a translation of Schindler, and it seems quite unfair to bring Moscheles so much into the foreground, merely because his name is celebrated in England. He has only contributed a few notes and a short introduction, giving a most pleasing account of his own devotion to the Master. Schindler was the trusty friend of Beethoven, and one whom he himself elected to write his biography. Inadequate as it is, there is that fidelity in the collection of materials which makes it serviceable to our knowledge of Beethoven, and we wish it might be reprinted in America. Though there is little knowledge of music here, yet so far as any exists in company with a free development of mind, the music of Beethoven is _the_ music which delights, which awakens, which inspires, an infinite hope.

This influence of these most profound, bold, original and singular compositions, even upon the uninitiated, above those of a simpler construction and more obvious charms, we have observed with great pleasure. For we think its cause lies deep, far beneath fancy, taste, fashion, or any accidental cause.

It is because there is a real and steady unfolding of certain thoughts which pervade the civilized world. They strike their roots through to us beneath the broad Atlantic; and these roots shoot stems upward to the light wherever the soil allows them free course.

Our era, which permits of freer inquiry, of bolder experiment, than ever before, and a firmer, broader, basis, may also, we sincerely trust, be depended on for nobler discovery and a grander scope of thought.

Although we sympathize with the sadness of those who lament the decay of forms and methods round which so many associations have wound their tendrils, and understand the sufferings which gentle, tender natures undergo from the forlorn homelessness of a period of doubt, speculation, reconstruction in every way, yet we cannot disjoin ourselves, by one moment's fear or regret, from the advance corps. That body, leagued by an invisible tie, has received too deep an assurance that the spirit is not dead nor sleeping, to look back to the past, even if they must advance uniformly through scenes of decay and the rubbish of falling edifices.

But how far it is from being so! How many developments, in various ways, of truth! How manifold the aspirations of love! In the church the attempt is now to reconstruct on the basis proposed by its founder--"Love one another;" in the philosophy of mind, if completeness of system is, as yet, far from being attained, yet mistakes and vain dogmas are set aside, and examinations conducted with intelligence and an enlarged discernment of what is due both to God and man. Science advances, in some route with colossal strides; new glimpses are daily gained into the arcana of natural history, and the mysteries attendant on the modes of growth, are laid open to our observation; while in chemistry, electricity, magnetism, we seem to be getting nearer to the law of life which governs them, and in astronomy "fathoming the heavens," to use the sublime expression of Herschel, daily to greater depths, we find ourselves admitted to a perception of the universal laws and causes, where harmony, permanence and perfection leave us no excuse for a moment of despondency, while under the guidance of a Power who has ordered all so well.

Then, if the other arts suffer a temporary paralysis, and notwithstanding the many proofs of talent and genius, we consider that is the case with architecture, painting, and sculpture, music is not only thoroughly vital, but in a state of rapid development. The last hundred years have witnessed a succession of triumphs in this art, the removal of obstructions, the transcending of limits, and the opening new realms of thought, to an extent that makes the infinity of promise and hope very present with us. And take notice that the prominent means of excellence now are not in those ways which give form to thought already existent, but which open new realms to thought. Those who live most with the life of their age, feel that it is one not only beautiful, positive, full of suggestion, but vast, flowing, of infinite promise. It is dynamics that interest us now, and from electricity and music we borrow the best illustrations of what we know.

Let no one doubt that these grand efforts at synthesis are capable of as strict analysis. Indeed, it is wonderful with what celerity and precision the one process follows up the other.

Of this great life which has risen from the stalk and the leaf into bud, and will in the course of this age be in full flower, Beethoven is the last and greatest exponent. His music is felt, by every soul whom it affects, to be the explanation of the past and the prophecy of the future. It contains the thoughts of the time. A dynasty of great men preceded him, each of whom made conquests and accumulated treasures which prepared the way for his successor. Bach, Handel, Hadyn, Mozart, were corner-stones of the glorious temple. Who shall succeed Beethoven? A host of musicians, full of talent, even of genius, live now he is dead; but the greatest among them is confessed by all men to be but of Lilliputian size compared with this demigod. Indeed, it should be so! As copious draughts of soul have been given to the earth, as she can quaff for a century or more. Disciples and critics must follow, to gather up the gleanings of the golden grain.

It is observable as an earnest of the great Future which opens for this country, that such a genius is so easily and so much appreciated here, by those who have not gone through the steps that prepared the way for him in Europe. He is felt, because he expresses, in full tones, the thoughts that lie at the heart of our own existence, though we have not found means to stammer them as yet. To those who have obtained some clew to all this,--and their number is daily on the increase,--this biography of Beethoven will be very interesting. They will here find a picture of the great man, as he looked and moved in actual life, though imperfectly painted,--as by one who saw the figure from too low a stand-point.

It will require the united labors of a constellation of minds to paint the portrait of Beethoven. That of his face, as seen in life, prefixed to these volumes, is better than any we have seen. It bears tokens of the force, the grandeur, the grotesqueness of his genius, and at the same time shows the melancholy that came to him from the great misfortune of his life--his deafness; and the affectionateness of his deep heart.

Moscheles thus gives a very pleasing account of his first cognizance of Beethoven:--

"I had been placed under the guidance and tuition of Dionysius Weber, the founder and present director of the Prague Musical Conservatory; and he, fearing that in my eagerness to read new music, I might injure the systematic development of my piano-forte playing, prohibited the library, a circulating musical library, and in a plan for my musical education which he laid before my parents, made it an express condition that for three years I should study no other authors but Mozart, Clemente, and S. Bach. I must confess, however, that in spite of such prohibition, I visited the library, gaining access to it through my pocket money. It was about this time that I learned from some schoolfellows that a young composer had appeared in Vienna, who wrote the oddest stuff possible, such as no one could either play or understand--crazy music, in opposition to all rule; and that this composer's name was Beethoven. On repairing to the library to satisfy my curiosity as to this so-called eccentric genius, I found there Beethoven's 'Sonate Pathetique.' This was in the year 1804. My pocket money would not suffice for the purchase of it, so I secretly copied it. The novelty of its style was so attractive to me, and I became so enthusiastic in my admiration of it, that I forgot myself so far as to mention my new acquisition to my master, who reminded me of his injunction, and warned me not to play or study any eccentric productions until I had based my style upon more solid models. Without, however, minding his injunction, I seized upon the piano-forte works of Beethoven as they successively appeared, and in them found a solace and delight such as no other composer afforded me.

"In the year 1809, my studies with my master, Weber, closed; and being then also fatherless, I chose Vienna for my residence, to work out my future musical career. Above all, I longed to see and become acquainted with that man who had exercised so powerful an influence over my whole being; whom, though I scarcely understood, I blindly worshipped. I learned that Beethoven was most difficult of access, and would admit no pupil but Ries; and for a long time my anxiety to see him remained ungratified. In the year 1810, however, the longed-for opportunity presented itself. I happened to be one morning in the music shop of Domenico Artaria, who had just been publishing some of my early attempts at composition, when a man entered with short and hasty steps, and gliding through the circle of ladies and professors assembled on business, or talking over musical matters, without looking up, as though he wished to pass unnoticed, made his way direct for Artaria's private office at the bottom of the shop. Presently Artaria called me in, and said, 'This is Beethoven,'--and to the composer, 'This is the youth of whom I have been speaking to you.' Beethoven gave me a friendly nod, and said he had just been hearing a favorable account of me. To some modest and humble expressions which I stammered forth he made no reply, and seemed to wish to break off the conversation. I stole away with a greater longing for that which I had sought, than before this meeting, thinking to myself, 'Am I then, indeed, such a nobody that he could not put one musical question to me? nor express one wish to know who had been my master, or whether I had any acquaintance with his works?' My only satisfactory mode of explaining the matter, and comforting myself for the omission, was in Beethoven's tendency to deafness; for I had seen Artaria speaking close to his ear. But I made up my mind that the more I was excluded from the private intercourse which I so earnestly coveted, the closer I would follow Beethoven in all the productions of his mind."

If Moscheles had never seen more of Beethoven, how rejoiced he would have been on reading his pathetic expressions recorded in those volumes, as to the misconstructions he knew his fellow-men must put on conduct caused by his calamity, at having detected the true cause of coldness in his own instance, and that no mean suggestions of offended vanity made him false to the genius, because repelled by the man!

Moscheles did see him further, and learned a great deal from this intercourse, though it never became intimate. He closes with these excellent remarks:--

"My feelings with respect to Beethoven's music have undergone no variation, save to become warmer. In my first half score of years of acquaintance with his works, he was repulsive to me, as well as attractive. In each of them, while I felt my mind fascinated by the prominent idea, and my enthusiasm kindled by the flashes of his genius, his unlooked-for episodes, shrill dissonances, and bold modulations gave me an unpleasant sensation. But how soon did I become reconciled to them! all that had appeared hard I soon found indispensable. The gnome-like pleasantries, which at first appeared too distorted, the stormy masses of sound which I found too chaotic, I have in after times learned to love. But while retracting my early critical exceptions, I must still maintain as my creed that eccentricities like those of Beethoven are reconcilable with his works alone, and are dangerous models to other composers, many of whom have been wrecked in their attempts at imitation."

No doubt the peculiarities of Beethoven are inimitable, though as great would be as welcome in a mind of equal greatness. The natural office of such a genius is to rouse others to a use and knowledge of their own faculties; never to induce imitation of its own individuality.

As an instance of the justice and undoubting clearness of such a mind, as to its own methods, take the following anecdote from Beethoven's "Pupil Ries":--

"All the initiated must be interested in the striking fact which occurred respecting one of Beethoven's last solo sonatas, (in B major, with the great fugue, Op. 106,) a sonata which has _forty-one pages of print_. Beethoven had sent it to me, to London, for sale, that it might appear there at the same time as in Germany. The engraving was completed, and I in daily expectation of the letter naming the day of publication. This arrived at last, but with this extraordinary request: 'Prefix the following two notes, as a first bar, to the beginning of the adagio.' This adagio has from nine to ten pages of print. I own the thought struck me involuntarily that all might not be right with my dear old master, a rumor to that effect having often been spread. What! add two notes to a composition already worked out and out, and completed months ago? But my astonishment was yet to be heightened by the _effect_ of these two notes. Never could such be found again--so striking--so important; no, not even if contemplated at the very beginning of the composition. I would advise every true lover of the art to play this adagio first _without_, and then with these two notes which now form the first bar, and I have no doubt he will share in my opinion."

No instance could more forcibly show how in the case of Beethoven, as in that of other transcendent geniuses, the cry of insanity is raised by vulgar minds on witnessing extraordinary manifestations of power. Such geniuses perceive results so remote, are alive to combinations so subtle, that common men cannot rise high enough to see why they think or do as they do, and settle the matter easily to their own satisfaction, crying, "He is mad"--"He hath a devil." Genius perceives the efficacy of slight signs of thought, and loves best the simplest symbols; coarser minds demand coarse work, long preparations, long explanations.

But genius heeds them not, but fills the atmosphere with irresistible purity, till they also are pervaded by the delicate influence, which, too subtile for their ears and eyes, enters with the air they breathe, or through the pores of the skin.

The life of a Beethoven is written in his works; and all that can be told of his life beside, is but as marginal notes on that broad page. Yet since we have these notes, it is pleasant to have them in harmony with the page. The acts and words of Beethoven are what we should expect,--noble, leonine, impetuous,--yet tender. His faults are the faults of one so great that he found few paths wide enough for his tread, and knew not how to moderate it. They are not faults in themselves, but only in relation to the men who surrounded him. Among his peers he would not have had faults. As it is, they hardly deserve the name. His acts were generally great and benignant; only in transports of sudden passion at what he thought base did he ever injure any one. If he found himself mistaken, he could not humble himself enough,--but far outwent, in his contrition, what was due to those whom he had offended. So it is apt to be with magnanimous and tender natures; they will humble themselves in a way that those of a coarser or colder make think shows weakness or want of pride. But they do so because a little discord and a little wrong is as painful to them as a great deal to others.

In one of his letters to a young friend, Beethoven thus magnanimously confesses his errors:--

"I could not converse with you and yours with that peace of mind which I could have desired, for the late wretched altercation was hovering before me, showing me my own despicable conduct. But so it was; and what would I not give could I obliterate from the page of my life this last action, so degrading to my character, and so unlike my usual proceedings!"

It seems this action of his was not of importance in the eyes of others. Of the causes which acted upon him at such times he gives intimations in another letter.

"I had been wrought into this burst of passion by many an unpleasant circumstance of an earlier date. I have the gift of concealing and restraining my irritability on many subjects; but if I happen to be touched at any time when I am more than usually susceptible of anger, I burst forth more violently than any one else. B. has doubtless most excellent qualities, but he thinks himself utterly without faults, and yet is most open to blame for those for which he censures others. He has a littleness of mind which I have held in contempt since my infancy."

As a correspondent example of the manner in which true greatness apologizes for its errors, we must quote a letter, lately made public, from Sir Isaac Newton to Mr. Locke.

"Sir: Being of opinion that you endeavored to embroil me with women, and by other means, I was so much affected with it as that, when one told me you were sickly, and would not live, I answered, ''Twere better if you were dead.' I desire you to forgive me this uncharitableness, for I am now satisfied that what you have done is just, and I beg your pardon for having had hard thoughts of you for it, and for representing that you struck at the root of morality in a principle you laid down in your book of ideas, and designed to pursue in another book, and that I took you for a Hobbist. I beg your pardon also for saying or thinking that there was a design to sell me an office, or to embroil me.

"I am your most humble and unfortunate servant,

"ISAAC NEWTON."

And this letter, observe, was quoted as proof of insanity in Newton. Locke, however, shows by his reply that _he_ did not think the power of full sincerity and elevation above self-love proved a man to be insane.

At a happy period Beethoven thus unveils the generous sympathies of his heart.

"My compositions are well paid, and I may say I have more orders than I can well execute; six or seven publishers, and more, being ready to take any of my works. I need no longer submit to being bargained with; I ask my terms, and am paid. You see this is an excellent thing; as, for instance, I see a friend in want, and my purse does not at the moment permit me to assist him; I have but to sit down and write, and my friend is no longer in need."

Some additional particulars are given, in the letters collected by Moscheles, of the struggles of his mind during the coming on of deafness. This calamity, falling upon the greatest genius of his time, in the prime of manhood,--a calamity which threatened to destroy not only all enjoyment of life, but the power of using the vast treasure with which he had been endowed for the use of all men,--casts common ills so into the shade that they can scarcely be seen. Who dares complain, since Beethoven could resign himself, to such an ill at such a time as this?

"This beautiful country of mine, what was my lot in it? The hope of a happy futurity. This might now be realized if I were freed from my affliction. O, freed from that, I should compass the world! I feel it--my youth is but beginning; have I not been hitherto but a sickly creature? My physical powers have for some time been materially increasing--those of my mind likewise. I feel myself nearer and nearer the mark; I feel but cannot describe it; this alone is the vital principle of your Beethoven. No rest for me: I know of none but in sleep, and I grieve at having to sacrifice to that more time than I have hitherto deemed necessary. Take but one half of my disease from me, and I will return to you a matured and accomplished man, renewing the ties of our friendship; for you shall see me as happy as I may be in this sublunary world; not as a sufferer; no, that would be more than I could bear; I will blunt the sword of fate; it shall not utterly destroy me. How beautiful it is to live a thousand lives in one! No; I am not made for a retired life--I feel it."

He _did_ blunt the sword of fate; he _did_ live a thousand lives in one; but that sword had power to inflict a deep and poisoned wound; those thousand lives cost him the pangs of a thousand deaths. He, born for perpetual conquest, was condemned through life to "resignation." Let any man, disposed to complain of his own ills, read the "Will" of Beethoven; and see if he dares speak of himself above a whisper, after.

The matter of interest new to us in this English book is in notes and appendix. Schindler's biography, whose plain and _naïve_ style is fit for the subject, is ironed out and plaited afresh to suit the "genteel" English, in this translation. Elsewhere we have given in brief the strong lineaments and piquant anecdotes from this biography;[7] here there is not room: smooth and shorn as it is, we wish the translation might be reprinted here.

We may give, at parting, two directions for the study of Beethoven's genius and the perusal of his biography in two sayings of his own. For the biography, "The limits have never yet been discovered which genius and industry could not transcend." For the music, "From the depths of the soul brought forth, she (Poesy) can only by the depths of the soul be received or understood."

BROWN'S NOVELS.[8]

We rejoice to see these reprints of Brown's novels, as we have long been ashamed that one who ought to be the pride of the country, and who is, in the higher qualities of the mind, so far in advance of our other novelists, should have become almost inaccessible to the public.

It has been the custom to liken Brown to Godwin. But there was no imitation, no second hand in the matter. They were congenial natures, and whichever had come first might have lent an impulse to the other. Either mind might have been conscious of the possession of that peculiar vein of ore, without thinking of working it for the mint of the world, till the other, led by accident, or overflow of feeling, showed him how easy it was to put the reveries of his solitary hours into words, and upon paper, for the benefit of his fellow-men.

"My mind to me a kingdom is."

Such a man as Brown or Godwin has a right to say that. Their mind is no scanty, turbid rill, rejoicing to be daily fed from a thousand others, or from the clouds. Its plenteous source rushes from a high mountain between bulwarks of stone. Its course, even and full, keeps ever green its banks, and affords the means of life and joy to a million gliding shapes, that fill its deep waters, and twinkle above its golden sands.

Life and Joy! Yes, Joy! These two have been called the dark Masters, because they disclose the twilight recesses of the human heart. Yet the gravest page in the history of such men is joy, compared with the mixed, shallow, uncertain pleasures of vulgar minds. Joy! because they were all alive, and fulfilled the purposes of being. No sham, no imitation, no convention deformed or veiled their native lineaments, or checked the use of their natural force. All alive themselves, they understood that there is no happiness without truth, no perception of it without real life. Unlike most men, existence was to them not a tissue of words and seemings, but a substantial possession.

Born Hegelians, without the pretensions of science, they sought God in their own consciousness, and found him. The heart, because it saw itself so fearfully and wonderfully made, did not disown its Maker. With the highest idea of the dignity, power, and beauty of which human nature is capable, they had courage to see by what an oblique course it proceeds, yet never lose faith that it would reach its destined aim. Thus their darkest disclosures are not hobgoblin shows, but precious revelations.

Brown is great as ever human writer was in showing the self-sustaining force of which a lonely mind is capable. He takes one person, makes him brood like the bee, and extract from the common life before him all its sweetness, its bitterness, and its nourishment.

We say makes _him_, but it increases our own interest in Brown, that, a prophet in this respect of a better era, he has usually placed this thinking, royal mind in the body of a woman. This personage, too, is always feminine, both in her character and circumstances, but a conclusive proof that the term _feminine_ is not a synonyme for _weak_. Constantia, Clara Wieland, have loving hearts, graceful and plastic natures, but they have also noble, thinking minds, full of resource, constancy, courage. The Marguerite of Godwin, no less, is all refinement and the purest tenderness; but she is also the soul of honor, capable of deep discernment, and of acting in conformity with the inferences she draws. The Man of Brown and Godwin has not eaten of the fruit of the tree of knowledge, and been driven to sustain himself by the sweat of his brow for nothing, but has learned the structure and laws of things, and become a being, natural, benignant, various, and desirous of supplying the loss of innocence by the attainment of virtue. So his Woman need not be quite so weak as Eve, the slave of feeling or of flattery; she also has learned to guide her helm amid the storm across the troubled waters.

The horrors which mysteriously beset these persons, and against which, so far as outward facts go, they often strive in vain, are but a representation of those powers permitted to work in the same way throughout the affairs of this world. Their demoniacal attributes only represent a morbid state of the intellect, gone to excess from want of balance with the other powers. There is an intellectual as well as a physical drunkenness, and which, no less, impels to crime. Carwin, urged on to use his ventriloquism till the presence of such a strange agent wakened the seeds of fanaticism in the breast of Wieland, is in a state no more foreign to nature than that of the wretch executed last week, who felt himself drawn as by a spell to murder his victim, because he had thought of her money and the pleasures it might bring him, till the feeling possessed his brain that hurls the gamester to ruin. The victims of such agency are like the soldier of the Rio Grande, who, both legs shot off, and his life-blood rushing out with every pulse, replied serenely to his pitying comrades, that "he had now that for which the soldier enlisted." The end of the drama is not in this world, and the fiction which rounds off the whole to harmony and felicity before the curtain falls, sins against truth, and deludes the reader. The Nelsons of the human race are all the more exposed to the assaults of Fate, that they are decorated with the badges of well-earned glory. Who but feels as they fall in death, or rise again to a mutilated existence, that the end is not yet? Who, that thinks, but must feel that the recompense is, where Brown places it, in the accumulation of mental treasure, in the severe assay by fire that leaves the gold pure to be used some time--somewhere?

Brown,--man of the brooding eye, the teeming brain, the deep and fervent heart,--if thy country prize thee not, and had almost lost thee out of sight, it is because her heart is made shallow and cold, her eye dim, by the pomp of circumstance, the love of gross outward gain. She cannot long continue thus, for it takes a great deal of soul to keep a huge body from disease and dissolution. As there is more soul, thou wilt be more sought; and many will yet sit down with thy Constantia to the meal and water on which she sustained her full and thoughtful existence, who could not endure the ennui of aldermanic dinners, or find any relish in the imitation of French cookery. To-day many will read the words, and some have a cup large enough to receive the spirit, before it is lost in the sand on which their feet are planted.

Brown's high standard of the delights of intellectual communion and of friendship, correspond with the fondest hopes of early days. But in the relations of real life, at present, there is rarely more than one of the parties ready for such intercourse as he describes. On the one side there will be dryness, want of perception, or variety, a stupidity unable to appreciate life's richest boon when offered to its grasp; and the finer nature is doomed to retrace its steps, unhappy as those who, having force to raise a spirit, cannot retain or make it substantial, and stretch out their arms only to bring them back empty to the breast.

We were glad to see these reprints, but sorry to see them so carelessly done. Under the cheap system, the carelessness in printing and translating grows to a greater excess day by day. Please, Public, to remonstrate; else very soon all your books will be offered for two shillings apiece, and none of them in a fit state to be read.

EDGAR A. POE.[9]

Mr. Poe throws down the gauntlet in his preface by what he says of "the paltry compensations, or more paltry commendations, of mankind." Some champion might be expected to start up from the "somewhat sizable" class embraced, or, more properly speaking, boxed on the ear, by this defiance, who might try whether the sting of Criticism was as indifferent to this knight of the pen as he professes its honey to be.

Were there such a champion, gifted with acumen to dissect, and a swift-glancing wit to enliven the operation, he could find no more legitimate subject, no fairer game, than Mr. Poe, who has wielded the weapons of criticism without relenting, whether with the dagger he rent and tore the garment in which some favored Joseph had pranked himself, secure of honor in the sight of all men, or whether with uplifted tomahawk he rushed upon the new-born children of some hapless genius, who had fancied, and persuaded his friends to fancy, that they were beautiful, and worthy a long and honored life. A large band of these offended dignitaries and aggrieved parents must be on the watch for a volume of "Poems by Edgar A. Poe," ready to cut, rend, and slash in turn, and hoping to see his own Raven left alone to prey upon the slaughter of which it is the herald.

Such joust and tournament we look to see, and, indeed, have some stake in the matter, so far as we have friends whose wrongs cry aloud for the avenger. Natheless we could not take part in the _mêlée_, except to join the crowd of lookers-on in the cry "heaven speed the right!"

Early we read that fable of Apollo who rewarded the critic, who had painfully winnowed the wheat,--with the chaff for his pains. We joined the gentle Affirmative School, and have confidence that if we indulge ourselves chiefly with the appreciation of good qualities, Time will take care of the faults. For Time holds a strainer like that used in the diamond mines--have but patience and the water and gravel will all pass through, and only the precious stones be left. Yet we are not blind to the uses of severe criticism, and of just censure, especially in a time and place so degraded by venal and indiscriminate praise as the present. That unholy alliance; that shameless sham, whose motto is,

"Caw me And I'll caw thee;"

that system of mutual adulation and organized puff which was carried to such perfection in the time, and may be seen drawn to the life in the correspondence, of Miss Hannah More, is fully represented in our day and generation. We see that it meets a counter-agency, from the league of Truth-tellers, few, but each of them mighty as Fingal or any other hero of the sort. Let such tell the whole truth, as well as nothing but the truth, but let their sternness be in the spirit of Love. Let them seek to understand the purpose and scope of an author, his capacity as well as his fulfilments, and how his faults are made to grow by the same sunshine that acts upon his virtues, for this is the case with talents no less than with character. The rich field requires frequent and careful weeding; frequent, lest the weeds exhaust the soil; careful, lest the flowers and grain be pulled up along with the weeds.

It has often been our lot to share the mistake of Gil Blas with regard to the Archbishop. We have taken people at their word, and while rejoicing that women could bear neglect without feeling mean pique, and that authors, rising above self-love, could show candor about their works, and magnanimously meet both justice and injustice, we have been rudely awakened from our dream, and found that chanticleer, who crowed so bravely, showed himself at last but a dunghill fowl. Yet Heaven grant we never become too worldly-wise thus to trust a generous word, and we surely are not so yet, for we believe Mr. Poe to be sincere when he says,--

"In defence of my own taste, it is incumbent upon me to say that I think nothing in this volume of much value to the public or very creditable to myself. Events not to be controlled have prevented me from making, at any time, any serious effort, in what, under happier circumstances, would have been the field of my choice."

We believe Mr. Poe to be sincere in this declaration; if he is, we respect him; if otherwise, we do not. Such things should never be said unless in hearty earnest. If in earnest, they are honorable pledges; if not, a pitiful fence and foil of vanity. Earnest or not, the words are thus far true; the productions in this volume indicate a power to do something far better. With the exception of the Raven, which seems intended chiefly to show the writer's artistic skill, and is in its way a rare and finished specimen, they are all fragments--_fyttes_ upon the lyre, almost all of which leave a something to desire or demand. This is not the case, however, with these lines:--

TO ONE IN PARADISE.

Thou wast all that to me, love, For which my soul did pine-- A green isle in the sea, love, A fountain and a shrine, All wreathed with fairy fruits and flowers, And all the flowers were mine.

Ah, dream too bright to last! Ah, starry Hope! that didst arise But to be overcast! A voice from out the Future cries, "On! on!"--but o'er the Past (Dim gulf!) my spirit hovering lies Mute, motionless, aghast!

For, alas! alas! with me The light of life is o'er! No more--no more--no more (Such language holds the solemn sea To the sands upon the shore) Shall bloom the thunder-blasted tree, Or the stricken eagle soar!

And all my days are trances, And all my nightly dreams Are where thy dark eye glances, And where thy footstep gleams-- In what ethereal dances, By what eternal streams.

The poems breathe a passionate sadness, relieved sometimes by touches very lovely and tender:--

"Amid the earnest woes That crowd around my earthly path (Drear path, alas! where grows Not even one lonely rose.") * * *

* * * * *

"For her, the fair and debonair, that now so lowly lies, The life upon her yellow hair, but not within her eyes-- The life still there, upon her hair--the death upon her eyes."

This kind of beauty is especially conspicuous, even rising into dignity, in the poem called the Haunted Palace.

The imagination of this writer rarely expresses itself in pronounced forms, but rather in a sweep of images, thronging and distant like a procession of moonlight clouds on the horizon, but like them characteristic and harmonious one with another, according to their office.

The descriptive power is greatest when it takes a shape not unlike an incantation, as in the first part of the Sleeper, where

"I stand beneath the mystic moon; An opiate vapor, dewy, dim, Exhales from out a golden rim, And, softly dripping, drop by drop, Upon the quiet mountain top, Steals drowsily and musically Into the universal valley."

Why _universal_?--"resolve me that, Master Moth."

And farther on, "the lily _lolls_ upon the wave."

This word _lolls_, often made use of in these poems, presents a vulgar image to our thought; we know not how it is to that of others.

The lines which follow, about the open window, are highly poetical. So is the Bridal Ballad in its power of suggesting a whole tribe and train of thoughts and pictures, by few and simple touches.

The poems written in youth, written, indeed, we understand, in childhood, before the author was ten years old, are a great psychological curiosity. Is it the delirium of a prematurely excited brain that causes such a rapture of words? What is to be gathered from seeing the future so fully anticipated in the germ? The passions are not unfrequently _felt_ in their full shock, if not in their intensity, at eight or nine years old, but here they are _reflected upon_:--

"Sweet was their death--with them to die was rife With the last ecstasy of satiate life."

The scenes from Politian are done with clear, sharp strokes; the power is rather metaphysical than dramatic. We must repeat what we have heretofore said, that we could wish to see Mr. Poe engaged in a metaphysical romance. He needs a sustained flight and far range to show what his powers really are. Let us have from him the analysis of the Passions, with their appropriate Fates; let us have his speculations clarified; let him intersperse dialogue or poem, as the occasion prompts, and give us something really good and strong, firmly wrought, and fairly blazoned.

ALFIERI AND CELLINI.[10]

These two publications have come to hand during the last month--a cheering gleam upon the winter of our discontent, as we saw the flood of bad translations of worse books which swelled upon the country.

We love our country well. The many false deeds and low thoughts; the devotion to interest; the forgetfulness of principle; the indifference to high and noble sentiment, which have, in so many ways, darkened her history for some years back, have not made us despair of her yet fulfilling the great destiny whose promise rose, like a star, only some half a century ago upon the hopes of the world.

Should that star be forsaken by its angel, and those hopes set finally in clouds of shame, the church which we had built out of the ruins of the ancient time must fall to the ground. This church seemed a model of divine art. It contained a labyrinth which, when threaded by aid of the clew of Faith, presented, re-viewed from its centre, the most admirable harmony and depth of meaning in its design, and comprised in its decorations all the symbols of permanent interest of which the mind of man has made use for the benefit of man. Such was to be our church, a church not made with hands, catholic, universal, all whose stones should be living stones, its officials the cherubim of Love and Knowledge, its worship wiser and purer action than has before been known to men. To such a church men do indeed constitute the state, and men indeed we hoped from the American church and state, men so truly human that they could not live while those made in their own likeness were bound down to the condition of brutes.

Should such hopes be baffled, should such a church fall in the building, such a state find no realization except to the eye of the poet, God would still be in the world, and surely guide each bird, that can be patient, on the wing to its home at last. But expectations so noble, which find so broad a basis in the past, which link it so harmoniously with the future, cannot lightly be abandoned. The same Power leads by a pillar of cloud as by a pillar of fire--the Power that deemed even Moses worthy only of a distant view of the Promised Land.

And to those who cherish such expectations rational education, considered in various ways and bearings, must be the one great topic of interest; an enterprise in which the humblest service is precious and honorable to any who can inspire its soul. Our thoughts anticipate with eager foresight the race that may grow up from this amalgamation of all races of the world which our situation induces. It was the pride and greatness of ancient nations to keep their blood unmixed; but it must be ours to be willing to mingle, to accept in a generous spirit what each clime and race has to offer us.

It is, indeed, the case that much diseased substance is offered to form this new body; and if there be not in ourselves a nucleus, a heart of force and purity to assimilate these strange and various materials into a very high form of organic life, they must needs induce one distorted, corrupt, and degraded beyond the example of other times and places. There will be no medium about it. Our grand scene of action demands grandeur and purity; lacking these, one must suffer from so base failure in proportion to the success that should have been.

It would be the worthiest occupation of mind to ascertain the conditions propitious for this meeting of the nations in their new home, and to provide preventions for obvious dangers that attend it. It would be occupation for which the broadest and deepest knowledge of human nature in its mental, moral, and bodily relations, the noblest freedom from prejudice, with the finest discrimination as to differences and relations, directed and enlightened by a prophetic sense as to what Man is designed by God to become, would all be needed to fit the thinker. Yet some portion of these qualities, or of some of these qualities, if accompanied by earnestness and aspiration, may enable any one to offer useful suggestions. The mass of ignorance and selfishness is such, that no grain of leaven must be despised.

And as the men of all countries come hither to find a home, and become parts of a new life, so do the books of all countries gravitate towards this new centre. Copious infusions from all quarters mingle daily with the new thought which is to grow into American mind, and develop American literature.

As every ship brings us foreign teachers, a knowledge of living contemporary tongues must in the course of fifty years become the commonest attainment. There exists no doubt in the minds of those who can judge, that the German, French, Italian, Spanish, and Portuguese tongues might, by familiar instruction and _an intelligent method_, be taught with perfect ease during the years of childhood, so that the child would have as distinct a sense of their several natures, and nearly as much expertness in their use, as in his own. The higher uses of such knowledge can, of course, be expected only in a more advanced state of the faculties; but it is pity that the acquaintance with the medium of thought should be deferred to a period when the mind is sufficiently grown to bend its chief attention on the thoughts themselves. Much of the most precious part of short human lives is now wasted from an ignorance of what might easily be done for children, and without taking from them the time they need for common life, play, and bodily growth, more than at present.

Meanwhile the English begins to vie with the German and French literature in the number, though not in the goodness, of the translations from other languages. The indefatigable Germans can translate, and do other things too; so that geniuses often there apply themselves to the work as an amusement: even the all-employed Goethe has translated one of the books before us, (Memoirs of Cellini.) But in English we know but of one, Coleridge's Wallenstein, where the reader will feel the electric current undiminished by the medium through which it comes to him. And then the profligate abuse of the power of translation has been unparalleled, whether in the choice of books or the carelessness in disguising those that were good in a hideous mask. No falsehood can be worse than this of deforming the expression of a great man's thoughts, of corrupting that form which he has watched, and toiled and suffered to make beautiful and true. We know no falsehood that should call a more painful blush to the cheek of one engaged in it.

We have no narrowness in our view of the contents of such books. We are not afraid of new standards and new examples. Only give enough of them, variety enough, and from well-intentioned, generous minds. America can choose what she wants, if she has sufficient range of choice; and if there is any real reason, any deep root in the tastes and opinions she holds at present, she will not lightly yield them. Only give her what is good of its kind. Her hope is not in ignorance, but in knowledge. We are, indeed, very fond of range, and if there is check, there should be countercheck; and in this view we are delighted to see these great Italians domesticated here. We have had somewhat too much of the French and Germans of late. We value unchangeably our sparkling and rapid French friend; still more the searching, honest, and, in highest sense, visionary German genius. But there is not on earth, and, we dare to say it, will not be again, genius _like_ that of Italy, or that can compare with it, in its own way.

Italy and Greece were alike in this; those sunny skies ripened their fruits perfectly. The oil and honey of Greece, the wine of Italy, not only suggest, but satisfy. _There_ we find fulfilment, elsewhere great achievement only.

O, acute, cautious, calculating Yankee; O, graceful, witty, hot-blooded, flimsy Southron; and thou, man of the West, going ahead too fast to pick up a thought or leave a flower upon thy path,--look at these men with their great fiery passions, but will and intellect still greater and stronger, perfectly sincere, from a contempt of falsehood. If they had acted wrong, they said and felt that they had, and that it was base and hateful in them. They were sagacious, as children are, not from calculation, but because the fine instincts of nature were unspoiled in them. I speak now of Alfieri and Cellini. Dante had all their instinctive greatness and deep-seated fire, with the reflective and creative faculties besides, to an extent of which they never dreamed.

He who reads these biographies may take them from several points of view. As pictures of manners, as sincere transcripts of the men and their times, they are not and could not be surpassed. That truth which Rousseau sought so painfully and vainly by self-brooding, subtle analysis, they attained without an effort. _Why_ they felt they cared little, but _what_ they felt they surely knew; and where a fly or worm has injured the peach, its passage is exactly marked, so that you are sure the rest is fair and sound. Both as physiological and psychical histories, they are full of instruction. In Alfieri, especially, the nervous disease generated in the frame by any uncongenial tension of the brain, the periodical crises in his health, the manner in which his accesses of passion came upon him, afford infinite suggestion to one who has an eye for the circumstances which fashion the destiny of man. Let the physician compare the furies of Alfieri with the silent rages of Byron, and give the mother and pedagogue the light in which they are now wholly wanting, showing how to treat such noble plants in the early stages of growth. We think the "hated cap" would not be put a second time on the head so easily diseased.

The biography of Cellini, it is commonly said, is more interesting than any romance. It _is_ a romance, with the character of the hero fully brought out. Cellini lived in all the fulness of inward vigor, all the variety of outward adventure, and passed through all the signs of the Zodiac, in his circling course, occasionally raising a little vapor from the art magic. He was really the Orlando Furioso turned Goldsmith, and Angelicas and all the Peers of France joined in the show. However, he never lived deeply; he had not time; the creative energy turned outward too easily, and took those forms that still enchant the mind of Europe. Alfieri was very different in this. He was like the root of some splendid southern plant, buried beneath a heap of rubbish. Above him was a glorious sky, fit to develop his form and excite his colors; but he was compelled to a long and terrible struggle to get up where he could be free to receive its influence. Institutions, language, family, modes of education,--all were unfit for him; and perhaps no man was ever called to such efforts, after he had reached manly age, to unmake and remake himself before he could become what his inward aspiration craved. All this deepened his nature, and it _was_ deep. It is his great force of will and the compression of Nature within its iron grasp, where Nature was so powerful and impulsive, that constitutes the charm of his writings. It is the man Alfieri who moves, nay, overpowers us, and not his writings, which have no flow nor plastic beauty. But we feel the vital dynamics, and imagine it all.

By us Americans, if ever such we really are to be, Alfieri should be held sacred as a godfather and holy light. He was a harbinger of what most gives this time its character and value. He was the friend of liberty, the friend of man, in the sense that Burns was--of the native nobleness of man. Soiled and degraded men he hated. He was, indeed, a man of pitiless hatred as of boundless love, and he had bitter prejudices too, but they were from antipathies too strongly intertwined with his sympathies for any hand less powerful than that of Death to rend them away.

But our space does not permit us to do any justice to such a life as Alfieri's. Let others read it, not from their habitual, but an eternal point of view, and they cannot mistake its purport. Some will be most touched by the storms of his youth, others by the exploits and conquests of his later years; but all will find him, in the words of his friend Casella, "sculptured just as he was, lofty, strange, and extreme, not only in his natural characteristics, but in every work that did not seem to him unworthy of his generous affections. And where he went too far, it is easy to perceive his excesses always flowed from some praiseworthy sentiment."

Among a crowd of thoughts suggested to the mind by reperusal of this book, to us a friend of many years standing, we hastily note the following:--

Alfieri knew how to be a friend, and had friends such as his masculine and uncompromising temper fitted him to endure and keep. He had even two or three of those noble friends. He was a perfect lover in delicacy of sentiment, in devotion, in a desire for constancy, in a high ideal, growing always higher, and he was, at last, happy in love. Many geniuses have spoken worthily of women in their works, but he speaks of woman as she wishes to be spoken of, and declares that he met the desire of his soul realized in life. This, almost alone, is an instance where a great nature was permanently satisfied, and the claims of man and woman equally met, where one of the parties had the impatient fire of genius. His testimony on this subject is of so rare a sort, we must copy it:--

"My fourth and last passion, fortunately for me, showed itself by symptoms entirely different from the three first. In the former, my intellect had felt little of the fires of passion; but now my heart and my genius were both equally kindled, and if my passion was less impetuous, it became more profound and lasting. Such was the flame which by degrees absorbed every affection and thought of my being, and it will never fade away except with my life. Two months satisfied me that I had now found the _true woman_; for, instead of encountering in her, as in all common women, an obstacle to literary glory, a hinderance to useful occupations, and a damper to thought, she proved a high stimulus, a pure solace, and an alluring example to every beautiful work. Prizing a treasure so rare, I gave myself away to her irrevocably. And I certainly erred not. More than twelve years have passed, and while I am writing this chit-chat, having reached that calm season when passion loses its blandishments, I cherish her more tenderly than ever; and I love her just in proportion as glide from her in the lapse of time those little-esteemed toll-gatherers of departing beauty. In her my soul is exalted, softened, and made better day by day; and I will dare to say and believe she has found in me support and consolation."

We have spoken of the peculiarities in Alfieri's physical condition. These naturally led him to seek solace in violent exercise; and as in the case of Beckford and Byron, horses were his best friends in the hour of danger. This sort of man is the modern Achilles, "the tamer of horses." In what degree the health of Alfieri was improved, and his sympathies awakened by the society and care of these noble animals, is very evident. Almost all persons, perhaps all that are in a natural state, need to stand in patriarchal relations with the animals most correspondent with their character. We have the highest respect for this instinct and sincere belief in the good it brings; if understood, it would be cherished, not ridiculed.

ITALY.--CARY'S DANTE.

Translating Dante is indeed a labor of love. It is one in which even a moderate degree of success is impossible. No great Poet can be well translated. The form of his thought is inseparable from his thought. The births of his genius are perfect beings: body and soul are in such perfect harmony that you cannot at all alter the one without veiling the other. The variation in cadence and modulation, even where the words are exactly rendered, takes not only from the form of the thought, but from the thought itself, its most delicate charm. Translations come to us as a message to the lover from the lady of his love through the lips of a confidante or menial--we are obliged to imagine what was most vital in the utterance.

These difficulties, always insuperable, are accumulated a hundred-fold in the case of Dante, both by the extraordinary depth and subtlety of his thought, and his no less extraordinary power of concentrating its expression, till every verse is like a blade of thoroughly tempered steel. You might as well attempt to translate a glance of fire from the human eye into any other language--even music cannot do that.

We think, then, that the use of Cary's translation, or any other, can never be to diffuse a knowledge of Dante. This is not in its nature diffusible; he is one of those to whom others must draw near; he cannot be brought to them. He has no superficial charm to cheat the reader into a belief that he knows him, without entrance into the same sphere.

These translations can be of use only to the translators, as a means of deliberate study of the original, or to others who are studying the original, and wish to compare their own version of doubtful passages with that of an older disciple, highly qualified, both by devotion and mental development, for the study.

We must say a few words as to the pedantic folly with which this study has been prosecuted in this country, and, we believe, in England. Not only the tragedies of Alfieri and the Faust of Goethe, but the Divina Commedia of Dante,--a work which it is not probable there are upon earth, at any one time, a hundred minds able to appreciate,--are turned into school books for little girls who have just left their hoops and dolls, and boys whose highest ambition it is to ride a horse that will run away, and brave the tutor in a college frolic.

This is done from the idea that, in order to get acquainted with a foreign language, the student must read books that have attained the dignity of classics, and also which are "hard." Hard indeed it must be for the Muses to see their lyres turned into gridirons for the preparation of a school-girl's lunch; harder still for the younglings to be called to chew and digest thunderbolts, in lieu of their natural bread and butter.

Are there not "classics" enough which would not suffer by being put to such uses? In Greek, Homer is a book for a boy; must you give him Plato because it is harder? Is there no choice among the Latins? Are all who wrote in the Latin tongue equally fit for the appreciation of sixteen Yankee years? In Italian, have you not Tasso, Ariosto, and other writers who have really a great deal that the immature mind can enjoy, without choking it with the stern politics of Alfieri, or piling upon a brain still soft the mountainous meanings of Dante? Indeed, they are saved from suffering by the perfect ignorance of all meaning in which they leave these great authors, fancying, to their life-long misfortune, that they have read them. I have been reminded, by the remarks of my young friends on these subjects, of the Irish peasant, who, having been educated on a book prepared for his use, called "Reading made easy," blesses through life the kindness that taught him his "Radamadasy;" and of the child who, hearing her father quote Horace, observed _she_ "thought Latin was even sillier than French."

No less pedantic is the style in which the grown-up, in stature at least, undertakes to become acquainted with Dante. They get the best Italian Dictionary, all the notes they can find, amounting in themselves to a library, for his countrymen have not been less external and benighted in their way of regarding him. Painfully they study through the book, seeking with anxious attention to know who Signor This is, and who was the cousin of Signora That, and whether any deep papal or anti-papal meaning was couched by Dante under the remark that Such-a-one wore a great-coat. A mind, whose small chambers look yet smaller by being crowded with furniture from all parts of the world, bought by labor, not received from inheritance or won by love, asserts that he must understand Dante well, better than any other person probably, because he has studied him through in this way thirty or forty times. As well declare you have a better appreciation of Shakspeare than any one else because you have identified the birthplace of Dame Quickly, or ascertained the churchyard where the ghost of the royal Dane hid from the sight of that far more celestial spirit, his son.

O, painstaking friends! Shut your books, clear your minds from artificial nonsense, and feel that only by spirit can spirit be discerned. Dante, like each other great one, took the stuff that lay around him, and wove it into a garment of light. It is not by ravelling that you will best appreciate its tissue or design. It is not by studying out the petty strifes or external relations of his time, that you can become acquainted with the thought of Dante. To him these things were only soil in which to plant himself--figures by which to dramatize and evolve his ideas. Would you learn him, go listen in the forest of human passions to all the terrible voices he heard with a tormented but never-to-be-deafened ear; go down into the hells, where each excess that mars the harmony of nature is punished by the sinner finding no food except from his own harvest; pass through the purgatories of speculation, of struggling hope, and faith, never quite quenched, but smouldering often and long beneath the ashes. Soar if thou canst, but if thou canst not, clear thine eye to see this great eagle soar into the higher region where forms arrange themselves for stellar dance and spheral melody,--and thought, with costly-accelerated motion, raises itself a spiral which can only end in the heart of the Supreme.

He who finds in himself no fitness to study Dante in this way, should regard himself as in the position of a candidate for the ancient mysteries, when rejected as unfit for initiation. He should seek in other ways to purify, expand, and strengthen his being, and, when he feels that he is nobler and stronger, return and try again whether he is "grown up to it," as the Germans say.

"The difficulty is in the thoughts;" and this cannot be obviated by the most minute acquaintance with the history of the times. Comparison of one edition with another is of use, as a guard against obstructions through mistake. Still more useful will be the method recommended by Mr. Cary, of comparing the Poet with himself; this belongs to the intellectual method, and is the way in which to study our intellectual friend.

The versions of Cary and Lyell will be found of use to the student, if he wants to compare his ideas with those of accomplished fellow-students. The poems in the London book would aid much in a full appreciation of the comedy; they ought to be read in the original, but copies are not easily to be met here, unless in the great libraries. The Vita Nuova is the noblest expression extant of the inward life of Love, the best preface and comment to every thing else that Dante did.

'Tis pity that the designs of Flaxman are so poorly reproduced in this American book. It would have been far better to have had it a little dearer, and thus better done. The designs of Flaxman were really a noble comment upon Dante, and might help to interpret him; and we are sorry that those who can see only a few of them should see them so imperfectly. But in some, as in that of the meeting with Farinata, the expression cannot be destroyed while one line of the original remained. The "lost portrait" we do not like as preface to "La Divina Comedia." To that belongs our accustomed object of reverence, the head of Dante, such as the Florentine women saw him, when they thought his hair and beard were still singed, his face dark and sublime with what he had seen _below_.

Prefixed to the other book is a head "from a cast taken after death at Ravenna, A. D. 1321." It has the grandeur which death sometimes puts on; the fulness of past life is there, but made sacred in Eternity. It is also the only front view of Dante we have seen. It is not unworthy to mark the point

"When vigor failed the towering fantasy, But yet the will rolled onward, like a wheel In even motion by the love impelled That moves the sun in heaven, and all the stars."

We ought to say, in behalf of this publication, that whosoever wants Cary's version will rejoice, at last, as do we, to possess it in so fair and legible guise.

Before leaving the Italians, we must mourn over the misprints of our homages to the great tragedian in the preceding review. Our manuscripts being as illegible as if we were a great genius, we never complain of these errata, except when we are made to reverse our meaning on some vital point. We did not say that Alfieri was perfect _in person_, nor sundry other things that are there; but we do mourn at seeming to say of our friends, "_Why_ they felt they care little, but _what_ they felt they _scarcely_ knew," when in fact we asserted, "what they felt they _surely_ knew."

In the article on the Celestial Empire we had made this assertion of the Chinese music: "Like _their_ poetry, the music is of the narrowest monotony;" in place of which stands this assertion: "Like _true_ poetry, their music is of the narrowest monotony." But we trust the most careless reader would not think the merely human mind capable of so original a remark, and will put this blasphemy to account of that little demon who has so much to answer for in the sufferings of poor writers before they can get their thoughts to the eyes of their fellow-creatures, in print, that there seems scarcely a chance of his being redeemed as long as there is one author in existence to accuse him.[11]

AMERICAN FACTS.

Such is the title of a volume just issued from the press; a grand title, which suggests the epic poet or the philosopher. The purpose of the work, however, is modest. It is merely a compilation, from which those who have lived at some distance from the great highway may get answers to their questions, as to events and circumstances which may have escaped them. It is one of those books which will be valued in the backwoods.

It would be a great book indeed, and one that would require the eye and heart of a great man,--great as a judge, great as a seer, and great as a prophet,--that should select for us and present in harmonious outline the true American facts. To choose the right point of view supposes command of the field.

Such a man must be attentive, a quiet observer of the slighter signs of growth. But he must not be one to dwell superstitiously on details, nor one to hasten to conclusions. He must have the eye of the eagle, the courage of the lion, the patience of the worm, and faith such as is the prerogative of man alone, and of man in the highest phase of his culture.

We doubt not the destiny of our country--that she is to accomplish great things for human nature, and be the mother of a nobler race than the world has yet known. But she has been so false to the scheme made out at her nativity, that it is now hard to say which way that destiny points. We can hardly exhibit the true American facts without some idea of the real character of America. Only one thing seems clear--that the energy here at work is very great, though the men employed in carrying out its purposes may have generally no more individual ambition to understand those purposes, or cherish noble ones of their own, than the coral insect through whose restless working new continents are upheaved from ocean's breast.

Such a man, passing in a boat from one extremity of the Mississippi to another, and observing every object on the shore as he passed, would yet learn nothing of universal or general value, because he has no principles, even in hope, by which to classify them. American facts! Why, what has been done that marks individuality? Among men there is Franklin. He is a fact, and an American fact. Niagara is another, in a different style. The way in which newspapers and other periodicals are managed is American; a go-ahead, fearless adroitness is American; so is _not_, exclusively, the want of strict honor. But we look about in vain for traits as characteristic of what may be individually the character of the nation, as we can find at a glance in reference to Spain, England, France, or Turkey. America is as yet but a European babe; some new ways and motions she has, consequent on a new position; but that soul that may shape her mature life scarce begins to know itself yet. One thing is certain; we live in a large place, no less morally than physically: woe to him who lives meanly here, and knows the exhibitions of selfishness and vanity as the only American facts.

NAPOLEON AND HIS MARSHALS.[12]

As we pass the old Brick Chapel our eye is sometimes arrested by placards that hang side by side. On one is advertised "the Lives of the Apostles," on the other "Napoleon and his Marshals."

Surely it is the most monstrous thing the world ever saw, that eighteen hundred years' profound devotion to a religious teacher should not preclude flagrant and all but universal violation of his most obvious precepts; that Napoleon and his Marshals should be some of the best ripened fruit of our time; that our own people, so unwearied in building up temples of wood and stone to the Prince of Peace, should be at this era mad with boyish exultation at the winning of battles, and in a bad cause too.

In view of such facts we cannot wonder that Dr. Channing, the editor of the Tribune, and others who make Christianity their standard, should find little savor in glowing expositions of the great French drama, and be disgusted at words of defence, still more of admiration, spoken in behalf of its leading actor.

We can easily admit at once that the whole French drama was anti-Christian, just as the political conduct of every nation of Christendom has been thus far, with rare and brief exceptions. Something different might have been expected from our own, because the world has now attained a clearer consciousness of right, and in our case our position would have made obedience easy. We have not been led into temptation; we sought it. It is greed, and not want, that has impelled this nation to wrong. The paths of peace would have been for her also the paths of wisdom and of pleasantness, but she would not, and has preferred the path of the beast of prey in the uncertain forest, to the green pastures where "walks the good Shepherd, his meek temples crowned with roses red and white."

Since the state of things is such, we see no extremity of censure that should fall upon the great French leader, except that he was like the majority. He was ruthless and selfish on a larger scale than most monarchs; but we see no difference in grain, nor in principles of action.

Admit, then, that he was not a good man, and never for one moment acted disinterestedly. But do not refuse to do homage to his genius. It is well worth your while to learn to appreciate _that_, if you wish to understand the work that the spirit of the time did, and is still doing, through him; for his mind is still upon the earth, working here through the tributary minds it fed. We must say, for our own part, we cannot admit the right of men severely to criticise Napoleon, till they are able to appreciate what he was, as well as see what he was not. And we see no mind of sufficient grasp, or high-placed enough to take this estimate duly, nor do we believe this age will furnish one. Many problems will have to be worked out first.

We reject the exclusively moral no less than the exclusively intellectual view, and find most satisfaction in those who, aiming neither at apology nor attack, make their observations upon the great phenomenon as partial, and to be received as partial.

Mr. Headley, in his first surprise at finding how falsely John Bull, rarely liberal enough to be fully trusted in evidence on any topic, has spoken of the acts of a hated and dreaded foe, does indeed rush too much on the other side. He mistakes the touches of sentiment in Napoleon for genuine feeling. Now we know that Napoleon loved to read Ossian, and could appreciate the beauty of tenderness: but we do not believe that he had one particle of what is properly termed heart;--that is, he could always silence sentiment at once when his projects demanded it. Then Mr. Headley finds apologies for acts where apology is out of place. They characterize the ruthless nature of the man, and that is all that can be said of them. He moved on, like the Juggernaut car, to his end, and spilled the blood that was needed for this, whether that blood were "ditch-water" or otherwise. Neither is this supposing him to be a monster. The human heart is very capable of such uncontrolled selfishness, just as it is of angelic love. "'Tis but the first step that costs"--_much_. Yet some compassionate hand strewed flowers on Nero's grave, and the whole world cried shame when Bonaparte's Mameluke forsook his master.

Mr. Headley does not seem to be aware that there is no trust to be put in Napoleon's own account of his actions. He seems to have been almost incapable of speaking sincerely to those about him. We doubt whether he could have forgotten with the woman he loved, that she might become his historiographer.

But granting the worst that can be said of ruthless acts in the stern Corsican, are we to reserve our anathema for him alone? He is no worse than the other crowned ones, against whom he felt himself continually in the balance. He has shed a greater quantity of blood, and done mightier wrongs, because he had more power, and followed with more fervor a more dazzling lure. We see no other difference between his conduct and that of the great Frederic of Prussia. He never did any thing so meanly wicked as has just been done in stirring up the Polish peasants to assassinate the nobles. He never did any thing so atrocious as has been done by Nicholas of Russia, who, just after his hypocritical intercourse with that "venerable man," the Pope, when he so zealously defended himself against the charge of scourging nuns to convert them to the Greek church, administers the knout to a noble and beautiful lady because she had given shelter for an hour to the patriot Dembinski. Why then so zealous against Napoleon only? He is but a specimen of what man must become when he _will_ be king over the bodies, where he cannot over the souls, of his fellow-men. We doubt if it is any worse in the sight of God to drain France of her best blood by the conscription, than to tear the flower of Genius from the breast of Italy to perish in a dungeon, leaving her overwhelmed and broken-hearted. Leaving all this aside, and granting that Napoleon might have done more and better, had his heart been pure from ambition, which gave it such electric power to animate a vast field of being, there is no reason why we should not prize what he did do. And here we think Mr. Headley's style the only one in place. We honor him for the power he shows of admiring the genius which, in ploughing its gigantic furrow, broke up every artificial barrier that hid the nations of Europe one from the other--that has left the "career open to talent," by a gap so broad that no "Chinese alliance" can ever close it again, and in its vast plans of civic improvement half-anticipated Fourier. With him all _thoughts_ became _things_; it has been spoken in blame, it has been spoken in praise; for ourselves we see not how this most practical age and country can refuse to apprehend the designs, and study the instincts of this wonderful practical genius.

The characters of the marshals are kept up with the greatest spirit, and that power of seizing leading traits that gives these sketches the greatness of dramatic poetry. The marshals are majestic figures; men vulgar and undeveloped on many sides, but always clear and strong in their own way. One mind animates them, and of that mind Napoleon is the culminating point. He did not choose them; they were a part of himself, a part of the same thought of which he was the most forcible expression. If sometimes inclined to disparage them, it was as a man might disparage his hand by saying it was not his head. He truly felt that he was the central force, though some of them were greater in the details of action than himself. Attempts have often been made to darken even the military fame of Napoleon and his generals--attempts disgraceful enough from a foe whom they so long held in terror. But to any unprejudiced mind there is evident in the conduct of their battles, the development of the instincts of genius in mighty force, and to inevitable results.

With all the haste of hand and inequality of touch they show, these sketches are full of strength and brilliancy, an honor to the country that produced them. There is no got-up harmony, no attempt at originality or acuteness; all is living,--the overflow of the mind; we like Mr. Headley; even in his faults he is a most agreeable contrast to the made men of the day.

In the sketches of the Marshals we have the men before us, a living reality. Massena, at the siege of Genoa, is represented with a great deal of simple force. The whole personality of Murat, with his "Oriental nature" and Oriental dress, is admirably depicted. Why had nobody ever before had the clearness of perception to see just this, _and no more_, in the "theatrical" Murat? Of his darling hero, Ney, the writer has implied so much all along, that he lays less stress on what he says of him directly. He thinks it is all understood, and it is.

Take this book for just what it is; do not look for cool discussion, impartial criticism, but take it as a vivacious and feeling representation of events and actors in a great era: you will find it full of truth, such as only sympathy could teach, and will derive from it a pleasure and profit lively and genuine as itself. As to denying or correcting its statements, it is very desirable that those who are able should do that part of the work; but, in doing it, let them be grateful for what _is_ done, and what _they_ could not do; grateful for reproduction such as he who throws himself into the genius and the persons of the time may hope for; but he never can who keeps himself composed in critical distance and self-possession. You cannot have all excellences combined in one person; let us then cheerfully work together to complete the beautiful whole,--beautiful in its unity,--no less beautiful in its variety.

PHYSICAL EDUCATION.[13]

This lecture of Dr. Warren is printed in a form suitable for popular distribution, while the high reputation of its author insures it respect. Readers will expect to find here those rules for daily practice taught by that plain common-sense which men possess from nature, but strangely lose sight of, amid their many inventions, and are obliged to rediscover by aid of experience and science.

Here will be found those general statements as to modes of exercise, care of the skin, choice of food, and time, and circumstances required for its digestion, which might furnish the ounce of prevention that is worth so many pounds of cure. And how much are these needed in this country, where the most barbarous ignorance prevails on the subject of cleanliness, sleeping accommodations, &c.! On these subjects improvement would be easy; that of diet is far more complicated, and is, unfortunately, one which requires great knowledge of the ways in which the human frame is affected by the changes of climate and various other influences, even wisely to discuss. If it is difficult where a race, mostly indigenous to the soil, feed upon what Mother Nature has prepared expressly for their use, and where excess or want of judgment in its use produces disease, it must be far more so where men come from all latitudes to live under new circumstances, and need a judicious adaptation of the old to the new. The dogmatism and proscription that prevail on this topic amuse the observer and distress the patient. "Touch no meat for your life," says one. "It is not meat, but sugar, that is your ruin," cries another. "No, salt is the destruction of the world," sadly and gravely declares a third. Milk, which once conciliated all regards, has its denunciators. "Water," say some, "is the bliss that shall dissolve all bane. Drink; wash--take to yourself all the water you can get." "That is madness--is far worse than useless," cry others, "unless the water be pure. You must touch none that has not been tested by a chemist." "Yes, you may at any rate drink it," say others, "and in large quantities, for the power of water to aid digestion is obvious to every observer."

"No," says Dr. Warren, "animals do not drink at the time they eat, but some hours after; and they generally take very small quantities of liquid, compared with that which is used by man. The savage, in his native wilds, takes his solid food, when he can obtain it, to satiety, reposes afterwards, and then resuming his chase through the forest, stops at the rivulet to allay his thirst. The disadvantage of taking a large quantity of liquid must be obvious to all those who consider that the digesting liquid is diluted and weakened in proportion to the quantity of drink."

What wonder is it, if even the well-disposed among the multitude, seeing such dissension among the counsellors, gathering just enough from their disputes to infer that they have no true philosophical basis for their opinions, and seeing those who would set the example in practice of this art without science of dietetics generally among the most morbid and ill-developed specimens of humanity, just throw aside all rule upon the subject, partake of what is set before them, trust to air, exercise, and good intentions to ward off the worst effects of the promiscuous fare?

Yet, while hopeless at present of selecting the right articles, and building up, so far as hereditary taint will permit, a pure and healthful body from feeding on congenial substances, we know at least this much, that stimulants and over-eating--not food--are injurious, and may take care enough of ourselves to avoid these.

The other branches we can really act wisely in, Dr. Warren, after giving the usual directions (rarely followed as yet) for airing beds, and sleeping-rooms, adds,--

"The manner in which children sleep will readily be acknowledged to be important; yet very little attention is paid to this matter. Children are crowded together in small, unventilated rooms, often two or three in a bed, and on beds composed of half prepared feathers, from which issues a noxious effluvia, infecting the child at a period when he is least able to resist its influence; so that in the morning, instead of feeling the full refreshment and vigor natural to his age, he is pale, languid, and for some time indisposed to exertion.

"The rooms in which children are brought up should be well aired, by having a fireplace, which should be kept open the greater part of the year. There never should be more than one in the same bed; and this remark may be applied with equal propriety to adults. The substance on which they lie should be hair, thoroughly prepared, so that it should have no bad smell. In winter it may be of cotton, or of hair and cotton. It would be very desirable, however, to place children in separate apartments, as well as in separate beds.

"It has been justly said that adults as well as children had better employ single instead of double beds; this remark is intended to apply universally. The use of double beds has been very generally adopted in this country, perhaps in part as a matter of economy; but this practice is objectionable, for more reasons than can be stated here."

On the subject of exercise, he mentions particularly the triangle, and we copy what he says, because of the perfect ease and convenience with which one could be put up and used in every bed-chamber.

"The exercising the upper limbs is too much neglected; and it is important to provide the means of bringing them into action, as well to develop their powers as to enlarge and invigorate the chest, with which they are connected, and which they powerfully influence. The best I know of is the use of the triangle. This admirably exerts the upper limbs and the muscles of the chest, and, indeed, when adroitly employed, those of the whole body. The triangle is made of a stick of walnut wood, four feet long, and an inch and a half in diameter. To each end is connected a rope, the opposite extremities of which being confined together at such height as to allow the motion of swinging by the hands."

We have ourselves derived the greatest benefit from this simple means. Gymnastic exercises, and if possible in the open air, are needed by every one who is not otherwise led to exercise all parts of the body by various kinds of labor. Some, though only partial provision, is made for boys by gymnasia and riding-schools. In wiser nations, such have been the care of the state. And in despotic governments, the jealousy of a tyrant was never more justly awakened than when the youth of the land, by a devotion to gymnastic exercises, showed their aspiration to reach the healthful stature of manhood. For every one who possesses a strong mind in a sane body is heir presumptive to the kingdom of this world; he needs no external credentials, but has only to appear and make clear his title. But for such a princely form the eye searches the street, the mart, and the council-chamber, in vain.

Those who feel that the game of life is so nearly up with them that they cannot devote much of the time that is left to the care of wise living in their own persons, should, at least, be unwilling to injure the next generation by the same ignorance which has blighted so many of us in our earliest year. Such should attend to the work of Mr. Combe,[14] among other good books. Mr. Combe has done much good already in this country, and this book should be circulated every where, for many of its suggestions are too obviously just not to be adopted as soon as read.

Dr. Warren bears his testimony against the pernicious effects that follow upon the use of tobacco, and we cannot but hope that what he says of its tendency to create cancer will have weight with some who are given to the detestable habit of chewing. This practice is so odious to women, that we must regard its prevalence here as a token of the very light regard in which they are held, and the consequent want of refinement among men. Dr. Warren seems to favor the practice of hydropathy to some extent, but must needs bear his testimony in full against homoeopathy. No matter; the little doses will insinuate their way, and cure the ills that flesh is heir to,

"For a' that, and a' that, And mickle mair for a' that."

FREDERICK DOUGLASS.[15]

Frederick Douglass has been for some time a prominent member of the abolition party. He is said to be an excellent speaker--can speak from a thorough personal experience--and has upon the audience, besides, the influence of a strong character and uncommon talents. In the book before us he has put into the story of his life the thoughts, the feelings, and the adventures that have been so affecting through the living voice; nor are they less so from the printed page. He has had the courage to name persons, times, and places, thus exposing himself to obvious danger, and setting the seal on his deep convictions as to the religious need of speaking the whole truth. Considered merely as a narrative, we have never read one more simple, true, coherent, and warm with genuine feeling. It is an excellent piece of writing, and on that score to be prized as a specimen of the powers of the black race, which prejudice persists in disputing. We prize highly all evidence of this kind, and it is becoming more abundant. The cross of the Legion of Honor has just been conferred in France on Dumas and Souliè, both celebrated in the paths of light literature. Dumas, whose father was a general in the French army, is a mulatto; Souliè, a quadroon. He went from New Orleans, where, though to the eye a white man, yet, as known to have African blood in his veins, he could never have enjoyed the privileges due to a human being. Leaving the land of freedom, he found himself free to develop the powers that God had given.

Two wise and candid thinkers--the Scotchman Kinmont, prematurely lost to this country, of which he was so faithful and generous a student, and the late Dr. Channing,--both thought that the African race had in them a peculiar element, which, if it could be assimilated with those imported among us from Europe, would give to genius a development, and to the energies of character a balance and harmony, beyond what has been seen heretofore in the history of the world. Such an element is indicated in their lowest estate by a talent for melody, a ready skill at imitation and adaptation, an almost indestructible elasticity of nature. It is to be remarked in the writings both of Souliè and Dumas, full of faults, but glowing with plastic life and fertile in invention. The same torrid energy and saccharine fulness may be felt in the writings of this Douglass, though his life, being one of action or resistance, has been less favorable to _such_ powers than one of a more joyous flow might have been.

The book is prefaced by two communications--one from Garrison, and one from Wendell Phillips. That from the former is in his usual over-emphatic style. His motives and his course have been noble and generous; we look upon him with high respect; but he has indulged in violent invective and denunciation till he has spoiled the temper of his mind. Like a man who has been in the habit of screaming himself hoarse to make the deaf hear, he can no longer pitch his voice on a key agreeable to common ears. Mr. Phillips's remarks are equally decided, without this exaggeration in the tone. Douglass himself seems very just and temperate. We feel that his view, even of those who have injured him most, may be relied upon. He knows how to allow for motives and influences. Upon the subject of religion, he speaks with great force, and not more than our own sympathies can respond to. The inconsistencies of slaveholding professors of religion cry to Heaven. We are not disposed to detest, or refuse communion with them. Their blindness is but one form of that prevalent fallacy which substitutes a creed for a faith, a ritual for a life. We have seen too much of this system of atonement not to know that those who adopt it often began with good intentions, and are, at any rate, in their mistakes worthy of the deepest pity. But that is no reason why the truth should not be uttered, trumpet-tongued, about the thing. "Bring no more vain oblations;" sermons must daily be preached anew on that text. Kings, five hundred years ago, built churches with the spoils of war; clergymen to-day command slaves to obey a gospel which they will not allow them to read, and call themselves Christians amid the curses of their fellow-men. The world ought to get on a little faster than this, if there be really any principle of improvement in it. The kingdom of heaven may not at the beginning have dropped seed larger than a mustard-seed, but even from that we had a right to expect a fuller growth than we can believe to exist, when we read such a book as this of Douglass. Unspeakably affecting is the fact that he never saw his mother at all by daylight.

"I do not recollect of ever seeing my mother by the light of day. She was with me in the night. She would lie down with me, and get me to sleep, but long before I waked she was gone."

The following extract presents a suitable answer to the hackneyed argument drawn by the defender of slavery from the songs of the slave, and is also a good specimen of the powers of observation and manly heart of the writer. We wish that every one may read his book, and see what a mind might have been stifled in bondage--what a man may be subjected to the insults of spendthrift dandies, or the blows of mercenary brutes, in whom there is no whiteness except of the skin, no humanity except in the outward form, and of whom the Avenger will not fail yet to demand, "Where is thy brother?"

"The Home Plantation of Colonel Lloyd wore the appeaance of a country village. All the mechanical operations for all the farms were performed here. The shoemaking and mending, the blacksmithing, cartwrighting, coopering, weaving, and grain-grinding, were all performed by the slaves on the Home Plantation. The whole place wore a business-like aspect very unlike the neighboring farms. The number of houses, too, conspired to give it advantage over the neighboring farms. It was called by the slaves the _Great House Farm_. Few privileges were esteemed higher, by the slaves of the out-farms, than that of being selected to do errands at the Great House Farm. It was associated in their minds with greatness. A representative could not be prouder of his election to a seat in the American Congress, than a slave on one of the out-farms would be of his election to do errands at the Great House Farm. They regarded it as evidence of great confidence reposed in them by their overseers; and it was on this account, as well as a constant desire to be out of the field, from under the driver's lash, that they esteemed it a high privilege, one worth careful living for. He was called the smartest and most trusty fellow who had this honor conferred upon him the most frequently. The competitors for this office sought as diligently to please their overseers as the office-seekers in the political parties seek to please and deceive the people. The same traits of character might be seen in Colonel Lloyd's slaves, as are seen in the slaves of the political parties.

"The slaves selected to go to the Great House Farm, for the monthly allowance for themselves and their fellow-slaves, were peculiarly enthusiastic. While on their way, they would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. They would compose and sing as they went along, consulting neither time nor tune. The thought that came up came out,--if not in the word, in the sound,--and as frequently in the one as in the other. They would sometimes sing the most pathetic sentiment in the most rapturous tone, and the most rapturous sentiment in the most pathetic tone. Into all their songs they would manage to weave something of the Great House Farm. Especially would they do this when leaving home. They would then sing most exultingly the following words:--

'I am going away to the Great House Farm! O, yea! O, yea! O!'

This they would sing as a chorus to words which to many would seem unmeaning jargon, but which, nevertheless, were full of meaning to themselves. I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the reading of whole volumes of philosophy on the subject could do.

"I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul; and if he is not thus impressed, it will only be because 'there is no flesh in his obdurate heart.'

"I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing among slaves as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy and singing for joy were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion."

PHILIP VAN ARTEVELDE.[16]

These volumes have met with as warm a reception "as ever unripe author's quick conceit," to use Mr. Taylor's own language, could hope or wish; and so deservedly, that the critic's happy task, in examining them, is to point out, not what is most to be blamed, but what is most to be praised.

With joy we hail a new poet. Star after star has been withdrawn from our firmament, and when that of Coleridge set, we seemed in danger of being left, at best, to a gray and confounding twilight; but, lo! a "ray of pure white light" darts across the obscured depths of ether, and allures our eyes and hearts towards the rising orb from which it emanates. Let us tremble no more lest our summer pass away without its roses, but receive our present visitor as the harbinger of a harvest of delights.

The natural process of the mind in forming a judgment is comparison. The office of sound criticism is to teach that this comparison should be made, not between the productions of differently-constituted minds, but between any one of these and a fixed standard of perfection. Nevertheless it is not contrary to the canon to take a survey of the labors of many artists with reference to one, if we value them, not according to the degree of pleasure we have experienced from them, which must always depend upon our then age, the state of the passions and relations with life, but according to the success of the artist in attaining the object he himself had in view. To illustrate: In the same room hang two pictures, Raphael's Madonna and Martin's Destruction of Nineveh. A person enters, capable of admiring both, but young, excitable; he is delighted with the Madonna, but probably far more so with the other, because his imagination is at that time more developed than the pure love for beauty which is the characteristic of a taste in a higher state of cultivation. He prefers the Martin, because it excites in his mind a thousand images of sublimity and terror, recalls the brilliancy of Oriental history, and the stern pomp of the old prophetic day, and rouses his mind to a high state of action, _then_ as congenial with its wants as at a later day would be the feeling of contented absorption, of perfect satisfaction with a production of the human soul, which one of Raphael's calmly beautiful creations is fitted to cause. Now, it would be very unfair for this person to pronounce the Martin superior to the Raphael, because it then gave him more pleasure. But if he said, the one is intended to excite the imagination, the other to gratify the taste, that which fulfils its object most completely must be the best, whether it give me most pleasure or no; he would be on the right ground, and might consider the two pictures relatively to one another, without danger of straying very far from the truth.

_This_ is the ground we would assume in a hasty sketch, which will not, we hope, be deemed irrelevant, of the most prominent essays to which the last sixty years have given rise in the department of the work now before us, previous to stating our opinion of its merits. Many, we are aware, ridicule the idea of filling reviews with long dissertations, and say they only want brief accounts of such books as are coming out, by way of saving time. With such we cannot agree. We think the office of the reviewer is, indeed, in part, to point out to the public attention deserving works, which might otherwise slumber too long unknown on the bookseller's shelves, but still more to present to the reader as large a cluster of objects round one point as possible, thus, by suggestion, stimulating him to take a broader or more careful view of the subject than his indolence or his business would have permitted.

The terms Classical and Romantic, which have so long divided European critics, and exercised so powerful an influence upon their decisions, are not much known or heeded among us,--as, indeed, _belles-lettres_ cannot, generally, in our busy state of things, be important or influential, as among a less free and more luxurious people, to whom the more important truths are proffered through those indirect but alluring mediums. Here, where every thing may be spoken or written, and the powers that be, abused without ceremony on the very highway, the Muse has nothing to do with dagger or bowl; hardly is the censor's wand permitted to her hand. Yet is her lyre by no means unheeded, and if it is rather by refining our tastes than by modelling our opinions that she influences us, yet is that influence far from unimportant. And the time is coming, perhaps in our day, we may (if war do not untimely check the national progress) even see and temper its beginning, when the broad West shall swarm with an active, happy, and cultivated population; when the South, freed from the incubus which now oppresses her best energies, shall be able to do justice to the resources of her soil and of her mind; when the East, gathering from every breeze the riches of the old world, shall be the unwearied and loving agent to those regions which lie far away from the great deep, our bulwark and our minister. Then will the division of labor be more complete; then will a surplus of talent be spared from the mart, the forum, and the pulpit; then will the fine arts assume their proper dignity, as the expression of what is highest and most ethereal in the mind of a people. Then will our quarries be thoroughly explored, and furnish materials for stately fabrics to adorn the face of all the land, while our ports shall be crowded with foreign artists flocking to take lessons in the school of American architecture. Then will our floral treasures be arranged into harmonious gardens, which, environing tasteful homes, shall dimple all the landscape. Then will our Allstons and our Greenoughs preside over great academies, and be raised far above any need, except of giving outward form to the beautiful ideas which animate them; and ornament from the exhaustless stores of genius the marble halls where the people meet to rejoice, or to mourn, or where dwell those wise and good whom the people delight to honor. Then shall music answer to and exalt the national spirit, and the poet's brows shall be graced with the civic as well as the myrtle crown. Then shall we have an American mind, as well as an American system, and, no longer under the sad necessity of exchanging money for thoughts, traffic on perfectly equal terms with the other hemisphere. Then--ah, not yet!--shall our literature make its own laws, and give its own watchwords; till then we must learn and borrow from that of nations who possess a higher degree of cultivation though a much lower one of happiness.

The term Classical, used in its narrow sense, implies a servile adherence to the Unities, but in its wide and best sense, it means such a simplicity of plan, selection of actors and events, such judicious limitations on time and range of subject, as may concentrate the interest, perfect the illusion, and make the impression most distinct and forcible. Although no advocates for the old French school, with its slavish obedience to rule, which introduces follies greater than those it would guard against, we lay the blame, not on their view of the drama, but on the then bigoted nationality of the French mind, which converted the Mussulman prophet into a De Retz, the Roman princess into a French grisette, and infected the clear and buoyant atmosphere of Greece with the vapors of the Seine. We speak of the old French Drama: with the modern we do not profess to be acquainted, having met with scarcely any specimens in our own bookstores or libraries; but if it has been revolutionized with the rest of their literature, it is probably as unlike as possible to the former models.

We shall speak of productions in the classical spirit first; because Mr. Taylor is a disciple of the other school, though otherwise we should have adopted a contrary course.

The most perfect specimens of this style with which we are acquainted are the Filippo, the Saul, and the Myrrha of Alfieri; the Wallenstein of Schiller; the Tasso and the Iphigenia of Goethe. England furnishes nothing of the sort. She is thoroughly Shakspearian.

There is no higher pleasure than to see a genius of a wild, impassioned, many-sided eagerness, restraining its exuberance by its sense of fitness, taming its extravagance beneath the rule its taste approves, exhibiting the soul within soul, and the force of the will over all that we inherit. The _abandon_ of genius has its beauty--far more beautiful its voluntary submission to wise law. A picture, a description, has beauty, the beauty of life; these pictures, these descriptions, arranged upon a plan, made subservient to a purpose, have a higher beauty--that of the mind of man acting upon life. Art is nature, but nature new-modelled, condensed, and harmonized. We are not merely like mirrors, to reflect our own times to those more distant. The mind has a light of its own, and by it illumines what it re-creates.

This is the ground of our preference for the classical school, and for Alfieri beyond all pupils of that school. We hold that if a vagrant bud of poesy here and there be blighted by conforming to its rules, our loss is more than made up to us by our enjoyment of plan, of symmetry, of the triumph of genius over multiplied obstacles.

It has been often said that the dramas of Alfieri contrast directly with his character. This is, perhaps, not true; we do but see the depths of that volcano which in early days boiled over so fiercely. The wild, infatuated youth often becomes the stern, pitiless old man. Alfieri did but bend his surplus strength upon literature, and became a despot to his own haughty spirit, instead of domineering over those of others.

We have selected his three masterpieces, though he, to himself an inexorable critic, has shown no indulgence to his own works, and the least successful of those which remain to us, Maria Stuarda, is marked by great excellence.

Filippo has been so ably depicted in a work now well known, "Carlyle's Life of Schiller," that we need not dwell upon it. All the light of the picture, the softer feelings of the hapless Carlos and Elizabeth, is so cast, as to make more visible the awing darkness of the tyrant's perverted mind, deadened to all virtue by a false religion, cold and hopeless as the dungeons of his own Inquisition, and relentless as death. Forced by the magic wand of genius into the stifling precincts of this mind, horror-struck that we must sympathize with such a state as possible to humanity, we rush from the contemplation of the picture, and would gladly curtain it over in our hall of imagery forever. Yet stigmatize not our poet as a dark master, courting the shade, and hating the glad lights which love and hope cast upon human nature. The drama has a holy meaning, a patriot moral, and we, above all, should reverence him, the aristocrat by birth, by education, and by tastes, whose love of liberty could lead him to such conclusions.

In "Saul," a bright rainbow rises, by the aid of the Sun of Righteousness, above the commotion of the tempest. David, the faithful, the hopeful, combining the æsthetic culture, the winged inspiration of the poet with the noble pride of Israel's chosen warrior, contrasts finely with the unfortunate Saul, his mind darkened and convulsed by jealousy, vain regrets, and fear of the God he has forgotten how to love. The other three actors shade in the picture without attracting our attention from the two principal personages. The Hebrew spirit breathes through the whole. The beauty of the lyric effusions is so generally felt, that encomium is needless; we shall only observe that in them Alfieri's style, usually so severe, becomes flexible, melodious, and glowing; thus we may easily perceive what he might have done, had not the simplicity of his genius disdained the foreign aid of ornament upon its Doric proportions.

Myrrha is, however, the highest exertion of his genius. The remoteness of time and manners, the subject, at once so hackneyed and so revolting, these great obstacles he seizes with giant grasp, and moulds them to his purpose. Our souls are shaken to the foundation; all every-day barriers fall with the great convulsion of passion. We sorrow, we sicken, we die with the miserable girl, so pure under her involuntary crime of feeling, pursued by a malignant deity in her soul's most sacred recesses, torn from all communion with humanity, and the virtue she was framed to adore. The perfection of plan, the matchless skill with which every circumstance is brought out! The agonizing rapidity with which her misery "va camminando al fine"! No! never was higher tragic power exhibited; never were love, terror, pity, fused into a more penetrating draught! Myrrha is a favorite acting-play in Italy--a fact inconceivable to an English or American mind; for (to say nothing of other objections) we should think such excess of emotion unbearable. But in those meridian climes they drink deep draughts of passion too frequently to taste them as we do.

We pass to works of far inferior power, but of greater beauty. We have selected Iphigenia and Tasso as the most finished results of their author's mature views of art. On his plays in the Romantic style, we shall touch in another place. If any one ask why we do not class Faust with either, we reply, that is a work without a parallel; one of those few originals which have their laws within themselves, and should always be discussed singly.

The unity of plan in Iphigenia is perfect. There is one pervading idea. The purity of Iphigenia's mind must be kept unsullied, that she may be a fit intercessor to the gods in behalf of her polluted family. Goethe, in his travels through Italy, saw a picture of a youthful Christian saint--Agatha, we think; struck by the radiant purity of her expression, he resolved his heathen priestess should not have one thought which could revolt the saint of the true religion. This idea is wonderfully preserved throughout a drama so classic in its coloring and manners. The happiest development of character, an interest in the denouement which is only so far tempered by our trust in the lovely heroine, as to permit us to enjoy all the minuter beauties on our way, (this the breathless interest of Alfieri's dramas hardly allows, on a fourth or fifth reading,) exquisite descriptive touches, and expressions of sentiment, unequalled softness and harmony of style, distinguish a drama not to be surpassed in its own department. Torquato Tasso[17] is of inferior general, but greater particular beauty. The two worldly, the two higher characters, with that of Alphonso halting between, are shaded with equal delicacy and distinctness. The inward-turning imagination of the ill-fated bard, and the fantastic tricks it plays with life, are painted as only a poet's soul of equal depth, of greater versatility, could have painted them. In analysis of the passions, and eloquent descriptions of their more hidden workings, some parts may vie with Rousseau; while several effusions of feeling are worthy of Tasso's own lyre, with its "breaking heartstring's tone." The conduct of the piece being in perfect accordance with the plan, gives the satisfaction we have mentioned in speaking of Raphael's Madonna.

Schiller's Wallenstein does not strictly belong to this class, yet we are disposed to claim it as observing the unities of time and interest; the latter especially is entire, notwithstanding the many actors and side-scenes which are introduced. Numberless touches of nature arrest our attention, bright lights are flashed across many characters, but our interest, momently increasing, is for Wallenstein--for the perversion, the danger, the ruin of that monarch soul, that falling son of the morning. Even that we feel in Max, with his celestial bloom of heart, in Thekla's sweet trustfulness, is subsidiary. This work, generally known to the reader through Mr. Coleridge's translation, affords an imperfect illustration of our meaning. Miss Baillie's plays on the passions hold a middle place. Unity of purpose there is--no unity of plan or conduct. Bold, fine outline--very bad coloring. Profound, beautifully-expressed reflections on the passions--utter want of skill in showing them out; a thorough feeling, indeed, of the elements of tragedy,--had but the vitalizing energy been added. Her plays are failures; but since she has given us nothing else, we cannot but rejoice in having these. 'Tis great pity that the authoress of De Montfort and Basil should not have attempted a narrative poem.

Coleridge and Byron are signal instances how peculiar is the kind of talent required for the drama; one a philosopher, both men of great genius and uncommon mastery over language, both conversant with each side of human nature, both considering the drama in its true light as one of the highest departments of literature, both utterly wanting in simplicity, pathos, truth of passion and liveliness of action--in that thrilling utterance of heart to heart, whose absence _here_, no other excellence can atone for. Of Maturin and Knowles we do not speak, because theirs, though very good acting plays, are not, like Mr. Taylor's, written for the closet; of Milman, because not sufficiently acquainted with his plays. We would here pay a tribute to our countryman Hillhouse, whose Hadad, read at a very early age, we remember with much delight. Probably our judgment now might be different; but a work which could make so deep an impression on any age, must have genius. We are sorry we have never since met it in any library or parlor, and are not competent to speak of it more particularly.

It will be seen that Mr. Taylor has not attempted the sort of dramatic poetry which we consider the highest, but has labored in that which the great wizard of Avon adopted, because it lay nearest at hand to clothe his spells withal, and consecrated it, with his world-embracing genius, to the (in our judgment) no small detriment of his country's taste. Having thus declared that we cannot grant him our very highest meed of admiration, (though we will not say that he might not win it if he made the essay,) we hasten to meet him on his own ground. "Dramatica Poesis est veluti Historia spectabilis," is his motto, taken from Bacon, who formed his taste on Shakspeare. We would here mention that Goethe's earlier works, Goetz von Berlichingen and Egmont are of this school--brilliant fragments of past days, ballads acted out, historical scenes and personages clustered round a hero; and we have seen that his ripened taste preferred the form of Iphigenia and Tasso.

We cannot too strongly express our approbation of the opinions maintained in his short preface to this work. We rejoice to see a leader coming forward who is likely to un-Hemansize and un-Cornwallize literature. We too have been sick, we too have been intoxicated with _words_ till we could hardly appreciate thoughts; perhaps our present writing shows traces of this Lower-Empire taste; but we have sense enough left to welcome the English Phocion, who would regenerate public feeling. The candor and modest dignity with which these opinions are offered charm us. The remarks upon Shelley, whom we have loved, and do still love passing well, brought truth home to us in a definite shape. With regard to the lowness of Lord Byron's standard of character, every thing indeed has been said which could be but not as Mr. Taylor has said it; and we opine that his refined and gentle remarks will find their way to ears which have always been deaf to the harsh sarcasms unseasoned by wit, which have been current on this topic.

Our author too, notwithstanding his modest caveat, has acted upon his principles, and furnished a forcible illustration of their justice. For dignity of sentiment, for simplicity of manner, for truth to life, never infringing upon respect for the ideal, we look to such a critic, and we are not disappointed.

The scene is laid in Ghent, in the fourteenth century. The Flemish mobocracy are brought before us with a fidelity and animation surpassing those displayed in Egmont. Their barbarism, and the dissimilar, but not inferior barbarism of their would-be lords, the bold, bad men, the shameless crime and brainless tumult of those days, live before us. Amid these clashing elements moves Philip Van Artevelde, with the presence, not of a god, but of a great man, too superior to be shaken, too wise to be shocked by their rude jarrings. He becomes the leader of his people, and despite pestilence, famine, and their own untutored passions, he leads them on to victory and power.

In the second part we follow Van Artevelde from his zenith of glory to his decline. The tarnishing influence of prosperity on his spirit, and its clear radiance again in adversity, are managed as the noble and well-defined conception of the character deserves.

The boy king and his courtly, intriguing counsellors are as happily portrayed as Vauclaire and the fierce commonalty he ruled, or resisted with rope or sword, as the case might demand.

The two loves of Van Artevelde are finely imagined, as types of the two states of his character. Both are lovely; the one how elevated! the other how pity-moving in her loveliness! On the interlude of Elena we must be allowed to linger fondly, though the author's self condemn our taste.

We are no longer partial to the machinery of portents and presentiments. Wallenstein's were the last we liked, but Van Artevelde's make good poetry, and have historical vouchers. They remind us of those of Fergus Mac Ivor.

We shall extract a speech of Van Artevelde's, in which a leading idea of the work is expressed.

Father,--

So! with the chivalry of Christendom I wage my war,--no nation for my friend, Yet in each nation having hosts of friends. The bondsmen of the world, that to their lords Are bound with chains of iron, unto me Are knit by their affections. Be it so. From kings and nobles will I seek no more Aid, friendship, or alliance. With the poor I make my treaty; and the heart of man Sets the broad seal of its allegiance there, And ratifies the compact. Vassals, serfs, Ye that are bent with unrequited toil, Ye that have whitened in the dungeon's darkness, Through years that know not change of night nor day, Tatterdemalions, lodgers in the hedge, Lean beggars with raw backs, and rumbling maws, Whose poverty was whipped for starving you,-- I hail you my auxiliars and allies, The only potentates whose help I crave! Richard of England, thou hast slain Jack Straw, But thou hast left unquenched the vital spark That set Jack Straw on fire. The spirit lives; And as when he of Canterbury fell, His seat was filled by some no better clerk, So shall John Ball, that slew him, be replaced.

Fain would we extract Van Artevelde's reply to the French envoy--the oration of the dying Van den Bosch in the market-place of Ypres, the last scene between the hero and the double-dyed dastard and traitor, Sir Heurant of Heurlée, and many, many more, had we but space enough.

We have purposely avoided telling the story, as is usual in an article of this kind, because we wish that every one should buy and read Van Artevelde, instead of resting content with the canvas side of the carpet.

A few words more, and we shall conclude these, we fear, already too prolonged remarks. We would compare Mr. Taylor with the most applauded of living dramatists, the Italian Alessandro Manzoni.

To wide and accurate historical knowledge, to purity of taste, to the greatest elevation of sentiment, Manzoni unites uncommon lyric power, and a beautiful style in the most beautiful language of the modern world. The conception of both his plays is striking, the detached beauties of thought and imagery are many; but where are the life, the glow, the exciting march of action, the thorough display of character which charm us in Van Artevelde? We _live_ at Ghent and Senlis; we _think_ of Italy. Van Artevelde dies,--and our hearts die with him. When Elena says, "The body,--O!" we could echo that "long, funereal note," and weep as if the sun of heroic nobleness were quenched from our own horizon. "Carmagnola, Adelchis die,"--we calmly shut the book, and think how much we have enjoyed it. Manzoni can deeply feel goodness and greatness, but he cannot localize them in the contours of life before our eyes. His are capital sketches, poems of a deep meaning,--but this, yes! this _is_ a drama.

We cannot conclude more fitly, nor inculcate a precept on the reader more forcibly, than in Mr. Taylor's own words, with a slight alteration: "To say that I admire him is to admit that I owe him much; for admiration is never thrown away upon the mind of him who feels it, except when it is misdirected or blindly indulged. There is perhaps nothing which more enlarges or enriches the mind than the disposition to lay it genially open to impressions of pleasure, from the exercise of every species of talent; nothing by which it is more impoverished than the habit of undue depreciation. What is puerile, pusillanimous, or wicked, it can do us no good to admire; but let us admire all that can be admired without debasing the dispositions or stultifying the understanding."

UNITED STATES EXPLORING EXPEDITION.

Slight as the intercourse held by the Voyager with the South Sea Islands is, his narrative is always more prized by us than those of the missionary and traders, who, though they have better opportunity for full and candid observation, rarely use it so well, because their minds are biased towards their special objects. It is deeply interesting to us to know how much and how little God has accomplished for the various nations of the larger portion of the earth, before they are brought into contact with the civilization of Europe and the Christian religion. To suppose it so little as most people do, is to impugn the justice of Providence. We see not how any one can contentedly think that such vast multitudes of living souls have been left for thousands of years without manifold and great means of instruction and happiness. To appreciate justly how much these have availed them, to know how far they are competent to receive new benefits, is essential to the philanthropist as a means of aiding them, no less than it is important to one philosopher who wishes to see the universe as God made it, not as some men think he OUGHT TO have made it.

The want of correct knowledge, and a fair appreciation of the uncultivated man as he stands, is a cause why even the good and generous fail to aid him, and contact with Europe has proved so generally more of a curse than a blessing. It is easy enough to see why our red man, to whom the white extends the Bible or crucifix with one hand, and the rum-bottle with the other, should look upon Jesus as only one more Manitou, and learn nothing from his precepts or the civilization connected with them. The Hindoo, the South American Indian, who knew their teachers first as powerful robbers, and found themselves called upon to yield to violence not only their property, personal freedom, and peace, but also the convictions and ideas that had been rooted and growing in their race for ages, could not be otherwise than degraded and stupefied by a change effected through such violence and convulsion. But not only those who came with fire and sword, crying, "Believe or die;" "Understand or we will scourge you;" "Understand _and_ we will only plunder and tyrannize over you,"--not only these ignorant despots, self-deceiving robbers, have failed to benefit the people they dared esteem more savage than themselves, but the worthy and generous have failed from want of patience and an expanded intelligence. Would you speak to a man? first learn his language. Would you have the tree grow? learn the nature of the soil and climate in which you plant it. Better days are coming, we do hope, as to these matters--days in which the new shall be harmonized with the old, rather than violently rent asunder from it; when progress shall be accomplished by gentle evolution, as the stem of the plant grows up, rather than by the blasting of rocks, and blindness or death of the miners.

The knowledge which can lead to such results must be collected, as all true knowledge is, from the love of it. In the healthy state of the mind, the state of elastic youth, which would be perpetual in the mind if it were nobly disciplined and animated by immortal hopes, it likes to learn just how the facts are, seeking truth for its own sake, not doubting that the design and cause will be made clear in time. A mind in such a state will find many facts ready for its use in these volumes relative to the South Sea Islanders, and other objects of interest.

STORY-BOOKS FOR THE HOT WEATHER.

Does any shame still haunt the age of bronze--a shame, the lingering blush of an heroic age, at being caught in doing any thing merely for amusement? Is there a public still extant which needs to excuse its delinquencies by the story of a man who liked to lie on the sofa all day and read novels, though he could, at time of need, write the gravest didactics? Live they still, those reverend seigniors, the object of secret smiles to our childish years, who were obliged to apologize for midnight oil spent in conning story-books by the "historic bearing" of the novel, or the "correct and admirable descriptions of certain countries, with climate, scenery, and manners therein contained," wheat, for which they, industrious students, were willing to winnow bushels of frivolous love-adventures? We know not, but incline to think the world is now given over to frivolity so far as to replace by the novel the minstrel's ballad, the drama, and even those games of agility and strength in which it once sought pastime. For, indeed, _mere_ pass-time is sometimes needed; the nursery legend comprised a primitive truth of the understanding and the wisdom of nations in the lines,--

"All play and no work makes Jack a mere toy, But all work and no play makes Jack a dull boy."

We have reversed the order of arrangement to suit our present purpose. For we, O useful reader! being ourselves so far of the useful class as to be always wanted somewhere, have also to fight a good fight for our amusements, either with the foils of excuse, like the reverend seigniors above mentioned, or with the sharp weapons of argument, or maintenance of a view of our own without argument, which we take to be the sharpest weapon of all.

Thus far do we defer to the claims of the human race, with its myriad of useful errands to be done, that we read most of our novels in the long sunny days, which call all beings to chirp and nestle, or fly abroad as the birds do, and permit the very oxen to ruminate gently in the just-mown fields.

On such days it was well, we think, to read "Sybil, or the Two Worlds." We have always felt great interest in D'Israeli. He is one of the many who share the difficulty of our era, which Carlyle says, quoting, we believe, from his Master, consists in unlearning the false in order to arrive at the true. We think these men, when they have once taken their degree, can be of far greater use to their brethren than those who have always kept their instincts unperverted.

In "Vivian Grey," the young D'Israeli, an educated Englishman, but with the blood of sunnier climes glowing and careering in his veins, gave us the very flower and essence of factitious life. That book sparkled and frothed like champagne; like that, too, it produced no dull and imbecile state by its intoxication, but one witty, genial, spiritual even. A deep, soft melancholy thrilled through its gay mockeries; the eyes of nature glimmered through the painted mask, and a nobler ambition was felt beneath the follies of petty success and petty vengeance. Still, the chief merit of the book, as a book, was the light and decided touch with which its author took up the follies and poesies of the day, and brought them all before us. The excellence of the foreign part, with its popular superstitions, its deep passages in the glades of the summer woods, and above all, the capital sketch of the prime minister with his original whims and secret history of romantic sorrows, were beyond the appreciation of most readers.

Since then, D'Israeli has never written any thing to be compared with this first jet of the fountain of his mind in the sunlight of morning. The "Young Duke" was full of brilliant sketches, and showed a soul struggling, blinded by the gaudy mists of fashion, for realities. The "Wondrous Tale of Alroy" showed great power of conception, though in execution it is a failure. "Henrietta Temple" Mr. Willis, with his usual justness of perception, has praised, as containing a collection of the best love-letters ever written; and which show that excellence, signal and singular among the literary tribe, of which D'Israeli never fails, of daring to write a thing down exactly as it rises in his mind.

Now he has come to be a leader of Young England, and a rooted plant upon her soil. If the performance of his prime do not entirely correspond with the brilliant lights of its dawn, it is yet aspiring, and with a large kernel of healthy nobleness in it. D'Israeli shows now not only the heart, but the soul of a man. He cares for all men; he wishes to care wisely for all.

"Coningsby" was full of talent, yet its chief interest lay in this aspiration after reality, and the rich materials taken from contemporary life. There is nothing in it good after the original manner of D'Israeli, except the sketches of Eton, and above all, the noble schoolboy's letter. The picture of the Jew, so elaborately limned, is chiefly valuable as affording keys to so many interesting facts.

"Sybil" is an attempt to do justice to the claims of the laboring classes, and investigate the duties of those in whose hands the money is at present, towards the rest. It comes to no result: it only exhibits some truths in a more striking light than heretofore. D'Israeli shows the taint of old prejudice in the necessity he felt to marry the daughter of the people to one _not_ of the people. Those worthy to be distinguished must still have good blood, or rather old blood, for what is called good needs now to be renovated from a homelier source. But his leaders must have _old_ blood; the fresh ichor, the direct flow from heaven, is not enough to animate their lives to the deeds now needed.

D'Israeli is another of those who give testimony in behalf of our favorite idea that a leading feature of the new era will be in new and higher developments of the feminine character. He looks at women as a man does who is truly in love. He does not paint them well, that is, not with profound fidelity to nature. But, ideally, he sees them well, for they are to him the inspirers and representatives of what is holy, tender, and simply great.

There are good sketches of the manufacturers at home, not the overseers, but the real makers.

Sue is a congenial activity with D'Israeli, but with clearer notions of what he wants. His "De Rohan" is a poor book, though it contains some things excellent. But it is faulty,--even more so than is usual with him, in heavy exaggerations, and is less redeemed by brilliant effects, good schemes, and lively strains of feeling. The wish to unmask Louis XIV. is defeated by the hatred with which the character inspired him, the liberal of the nineteenth century. The Grand Monarque was really brutally selfish and ignorant, as Sue represents him; but then there _was_ a native greatness, which justified, in some degree, the illusion he diffused, and which falsifies all Sue's representation. It is not by an inventory of facts or traits that what is most vital in character, and which makes its due impression on contemporaries, can be apprehended or depicted. "De Rohan" is worth reading for particulars of an interesting period, put together with accuracy and with a sense of physiological effects, if not of the spiritual realities that they represented.

"Self, by the Author of Cecil," is one of the worst of a paltry class of novels--those which aim at representing the very dregs in a social life, now at its lowest ebb. If it has produced a sensation, that only shows the poverty of life among those who can be interested in it. I have known more life lived in a day among factory girls, or in a village school, than informs these volumes, with all their great pretension and affected vivacity. It is not worth our while to read this class of English novels; they are far worse than the French, morally as well as mentally. This has no merits as to the development of character or exposition of motives; it is a poor, external, lifeless thing.

"Dashes at Life," by N. P. Willis. The life of Mr. Willis is too European for him to have a general or permanent fame in America. We need a life of our own, and a literature of our own. Those writers who are dearest to us, and really most interesting, are those who are at least rooted to the soil. If they are not great enough to be the prophets of the new era, they at least exhibit the features of their native clime, and the complexion given by its native air. But Mr. Willis is a son of Europe, and his writings can interest only the fashionable world of this country, which, by imitating Europe, fails entirely of a genius, grace, and invention of its own. Still, in their way, they are excellent. They are most lively pictures, showing the fine natural organization of the writer, on whom none, the slightest symptom of what he is looking for, is thrown away; sparkling with bold, light wit, succinct, and colored with glow, and for a full light. Some of them were new to us, and we read them through, missing none of the words, and laughed with a full heart, and without one grain of complaisance, which is much, very much, to say in these days. We said these sketches would not have a permanent fame, and yet we may be wrong. The new, full, original, radiant, American life may receive them as an heirloom from this transition state we are in now, and future generations may stare at the mongrel products of Saratoga, and maidens still laugh till they cry at the "Letter of Jane S. to her Spirit-Bridegroom."

All these story-books show, even to the languor of the hottest day, the solemn signs of revolution. Life has become too factitious; it has no longer a leg left to stand upon, and cannot be carried much farther in this way. England--ah! who can resist visions of phalansteries in every park, and the treasures of art turned into public galleries for the use of the artificers who will no longer be unwashed, but raised and educated by the refinements of sufficient leisure, and the instructions of genius. England must glide, or totter, or fall into revolution; there is not room for such selfish elves, and unique young dukes, in a country so crowded with men, and with those who ought to be women, and are turned into work-tools. There are very impressive hints on this last topic in "Sybil, or the Two Worlds," (of the rich and poor.) God has time to remember the design with which he made this world also.

SHELLEY'S POEMS[18]

We are very glad to see this handsome copy of Shelley ready for those who have long been vainly inquiring at all the bookstores for such a one.

In Europe the fame of Shelley has risen superior to the clouds that darkened its earlier days, hiding his true image from his fellow-men, and from his own sad eyes oftentimes the common light of day. As a thinker, men have learned to pardon what they consider errors in opinion for the sake of singular nobleness, purity, and love in his main tendency or spirit. As a poet, the many faults of his works having been acknowledged, there are room and place to admire his far more numerous and exquisite beauties.

The heart of the man, few, who have hearts of their own, refuse to reverence, and many, even of devoutest Christians, would not refuse the book which contains Queen Mab as a Christmas gift. For it has been recognized that the founder of the Christian church would have suffered one to come unto him, who was in faith and love so truly what he sought in a disciple, without regard to the form his doctrine assumed.

The qualities of his poetry have often been analyzed, and the severer critics, impatient of his exuberance, or unable to use their accustomed spectacles in the golden mist that broods over all he has done, deny him high honors; but the soul of aspiring youth, untrammelled by the canons of taste, and untamed by scholarly discipline, swells into rapture at his lyric sweetness, finds ambrosial refreshment from his plenteous fancies, catches fire at his daring thought, and melts into boundless weeping at his tender sadness--the sadness of a soul betrothed to an ideal unattainable in this present sphere.

For ourselves, we dispute not with the _doctrinaires_ or the critics. We cannot speak dispassionately of an influence that has been so dear to us. Nearer than the nearest companions of life actual has Shelley been to us. Many other great ones have shone upon us, and all who ever did so shine are still resplendent in our firmament, for our mental life has not been broken and contradictory, but thus far we "see what we foresaw." But Shelley seemed to us an incarnation of what was sought in the sympathies and desires of instinctive life, a light of dawn, and a foreshowing of the weather of this day.

When still in childish years, the "Hymn to Intellectual Beauty" fell in our way. In a green meadow, skirted by a rich wood, watered by a lovely rivulet, made picturesque by a mill a little farther down, sat a party of young persons gayer than, and almost as inventive, as those that told the tales recorded by Boccaccio. They were passing a few days in a scene of deep seclusion, there uncared for by tutor or duenna, and with no bar of routine to check the pranks of their gay, childish fancies. Every day they assumed parts which through the waking hours must be acted out. One day it was the characters in one of Richardson's novels; and most solemnly we "my deared" each other with richest brocade of affability, and interchanged in long, stiff phrase our sentimental secrets and prim opinions. But to-day we sought relief in personating birds or insects; and now it was the Libellula who, tired of wild flitting and darting, rested on the grassy bank and read aloud the "Hymn to Intellectual Beauty," torn by chance from the leaf of a foreign magazine.

It was one of those chances which we ever remember as the interposition of some good angel in our fate. Solemn tears marked the change of mood in our little party and with the words

"Have I not kept my vow?"

began a chain of thoughts whose golden links still bind the years together.

Two or three years passed. The frosty Christmas season came; the trees cracked with their splendid burden of ice, the old wooden country house was banked up with high drifts of the beautiful snow, and the Libellula became the owner of Shelley's Poems. It was her Christmas gift, and for three days and three nights she ceased not to extract its sweets; and how familiar still in memory every object seen from the chair in which she sat enchanted during those three days, memorable to her as those of July to the French nation! The fire, the position of the lamp, the variegated shadows of that alcoved room, the bright stars up to which she looked with such a feeling of congeniality from the contemplation of this starry soul,--O, could but a De Quincey describe those days in which the bridge between the real and ideal rose unbroken! He would not do it, though, as _Suspiria de Profundis_, but as sighs of joy upon the mountain height.

The poems we read then are what every one still reads, the "Julian and Maddalo," with its profound revelations of the inward life; "Alastor," the soul sweeping like a breeze through nature; and some of the minor poems. "Queen Mab," the "Prometheus," and other more formal works we have not been able to read much. It was not when he tried to express opinions which the wrongs of the world had put into his head, but when he abandoned himself to the feelings which nature had implanted in his own breast, that Shelley seemed to us so full of inspiration, and it is so still.

In reply to all that can be urged against him by people of whom we do not wish to speak ill,--for surely "they know not what they do,"--we are wont simply to refer to the fact that he was the only man who redeemed the human race from suspicion to the embittered soul of Byron. "Why," said Byron, "he is a man who would willingly die for others. _I am sure of it._"

Yes! balance that against all the ill you can think of him that he was a man able to live wretched for the sake of speaking sincerely what he supposed to be truth, willing to die for the good of his fellows!

Mr. Foster has spoken well of him as a man: "Of Shelley's personal character it is enough to say that it was wholly pervaded by the same unbounded and unquestioning love for his fellow-men--the same holy and fervid hope in their ultimate virtue and happiness--the same scorn of baseness and hatred of oppression--which beam forth in all his writings with a pure and constant light. The theory which he wrote was the practice which his whole life exemplified. Noble, kind, generous, passionate, tender, with a courage greater than the courage of the chief of warriors, for it could _endure_--these were the qualities in which his life was embalmed."

FESTUS.[19]

We are right glad to see this beloved stranger domesticated among us. Yet there are queer little circumstances that herald the introduction. The poet is a barrister at law!--well! it is always worthy of note when a man is not hindered by study of human law from knowledge of divine; which last is all that concerns the poet. Then the preface to the American edition closes with this discreet remark: "It is perfectly SAFE to pronounce it (the poem) one of the most powerful and splendid productions of the age." Dear New England! how purely that was worthy thee, region where the tyranny of public opinion is carried to a perfection of minute scrutiny beyond what it ever was before in any age or place, though the ostracism be administered with the mildness and refinement fit for this age. Dear New England! yes! it is _safe_ to say that the poem is good; whatever Mrs. Grundy may think, she will not have it burned by the hangman if it is not. But it may not be _discreet_, because she can, if she sees fit, exile its presence from bookstores, libraries, centre tables, and all mention of its existence from lips polite, and of thine also, who hast dared to praise it, on peril of turning all surrounding eyes to lead by its utterance. This kind of gentle excommunication thou mayst not be prepared to endure, O preface-writer! And we should greatly fear that thou wert deceived in thy fond security, for "Festus" is a bold book--in respect of freedom of words, a boldest book--also it reveals the solitudes of hearts with unexampled sincerity, and remorselessly lays bare human nature in its naked truth--but for the theology of the book. That may save it, and none the less for all it shows of the depravity of human nature. It is through many pages and leaves what is technically praised as "a serious book." A friend went into a bookstore to select presents for persons with whom she was about to part, and among other things requested the shopman to "show her some serious books in handsome binding." He looked into several, and then, struck by passages here and there, offered her the "Letters of Lady M. W. Montague." She assuring him that it would not be safe to make use of this work, he offered her a miniature edition of Shakspeare, as "a book containing many excellent things, though you had to wade through a great deal of rubbish to get at them."

We fear the reader will have to wade through a great deal of "rubbish" in "Festus" before he gets at the theology. However, there it is, in sufficient quantities to give dignity to any book. In seriousness, it may compete with Pollok's "Course of Time." In "splendor and power," we feel ourselves safe in saying that, as sure as the sun shines, it cannot be outdone in the English tongue, thus far, short of Milton. So there is something for all classes of readers, and we hope it will get to their eyes, albeit Boston books are not likely to be detected by all eyes to which they belong.

To ourselves the theology of this writer, and the conscious design of the poem, have little interest. They seem to us, like the color of his skin and hair, the result of the circumstances under which he was born. Certain opinions came in his way early, and became part of the body of his thought. But what interests us is not these, but what is deepest, universal--the soul of that body. To us the poem is

"... full of great dark meanings like the sea:"

and it is these, the deep experiences and inspirations of the immortal man, that engage us.

Even the poem shows how large is his nature--its most careless utterance full of grandeur, its tamest of bold nobleness. This, that truly engages us, he spoke of more forcibly when the book first went forth to the world:--

"Read this, world. He who writes is dead to thee, But still lives in these leaves. He spake inspired; Night and day, thought came unhelped, undesired, Like blood to his heart. The course of study he Went through was of the soul-rack. The degree He took was high; it was wise wretchedness. He suffered perfectly, and gained no less A prize than, in his own torn heart, to see A few bright seeds; he sowed them, hoped them truth. The autumn of that seed is in these pages."

Such is, in our belief, the true theologian, the learner of God, who does not presumptuously expect at this period of growth to bind down all that is to be known of divine things in a system, a set of words, but considers that he is only spelling the first lines of a work, whose perusal shall last him through eternity. Such a one is not in a hurry to declare that the riddles of Fate and of Time are solved, for he knows it is not calling them so that will make them so. His soul does not decline the great and persevering labors that are to develop its energies. He has faith to study day by day. Such is the practice of the author of Festus, whenever he is truly great. When he shows to us the end and plan of all things, we feel that he only hides them from us. He speaks only his wishes. But when he tells us of what he does really know, the moods and aspirations of fiery youth to which all things are made present in foresight and foretaste,--when he shows us the temptations of the lonely soul pining for knowledge, but unable to feel the love that alone can bestow it,--then he is truly great, and the strings of life thrill oftentimes to their sublimest, sweetest music.

We admire in this author the unsurpassed force and distinctness with which he casts out single thoughts and images. Each is thrown before us fresh, deep in its impress as if just snatched from the forge. We admire not less his vast flow, his sustained flight. His is a rich and spacious genius; it gives us room; it is a palace home; we need not economize our joys; blessed be the royalty that welcomes us so freely.

In simple transposition of the thought from the mind to the paper, that wonder, even rarer than perfect,--that is, simple expression, through the motions of the body, of the motions of the soul,--we dare to say _no_ writer excels him. Words are no veil between us and him, but a luminous cloud that upbears us both together.

So in touches of nature, in the tones of passion; he is absolute. There is nothing better, where it is good; we have the very thing itself.

We are told by the critics that he has no ear, and, indeed, when we listen for such, we perceive blemishes enough in the movement of his line. But we did not perceive it before, more than, when the Æolian was telling the secrets of that most spirit-like minister of Nature that bloweth where it listeth, and no man can trace it, we should attempt to divide the tones and pauses into regular bars, and be disturbed when we could not make a tune.

England has only two poets now that can be named near him: these two are Tennyson and the author of "Philip Van Artevelde." Tennyson is all that Bailey is not in melody and voluntary finish, having no less than a Greek moderation in declining all undertakings he is not sure of completing. Taylor, noble, an earnest seer, a faithful narrator of what he sees, firm and sure, sometimes deep and exquisite, but in energy and grandeur no more than Tennyson to be named beside the author of Festus. In inspiration, in prophecy, in those flashes of the sacred fire which reveal the secret places where Time is elaborating the marvels of Nature, he stands alone. It is just true what Ebenezer Elliott says, that "Festus contains poetry enough to set up fifty poets,"--ay! even such poets, so far as richness of thought and imagery are concerned, as the two noble bards we have named.

But we need call none less to make him greater, whose liberal soul is alive to every shade of beauty, every token of greatness, and whose main stress is to seek a soul of goodness in things evil. The book is a precious, even a sacred book, and we could say more of it, had we not years ago vented our enthusiasm when it was in first full flow.

FRENCH NOVELISTS OF THE DAY.[20]

WE hear much lamentation among good people at the introduction of so many French novels among us, corrupting, they say, our youth by pictures of decrepit vice and prurient crime, such as would never, otherwise, be dreamed of here, and corrupting it the more that such knowledge is so precocious--for the same reason that a boy may be more deeply injured by initiation into wickedness than a man, for he is not only robbed of his virtue, but prevented from developing the strength that might restore it. But it is useless to bewail what is the inevitable result of the movement of our time. Europe must pour her corruptions, no less than her riches, on our shores, both in the form of books and of living men. She cannot, if she would, check the tide which bears them hitherward; no defences are possible, on our vast extent of shore, that can preclude their ingress. We have exulted in premature and hasty growth; we must brace ourselves to bear the evils that ensue. Our only hope lies in rousing, in our own community, a soul of goodness, a wise aspiration, that shall give us strength to assimilate this unwholesome food to better substance, or cast off its contaminations. A mighty sea of life swells within our nation, and, if there be salt enough, foreign bodies shall not have power to breed infection there.

We have had some opportunity to observe that the worst works offered are rejected. On the steamboats we have seen translations of vile books, bought by those who did not know from the names of their authors what to expect, torn, after a cursory glance at their contents, and scattered to the winds. Not even the all but all-powerful desire to get one's money's worth, since it had once been paid, could contend against the blush of shame that rose on the cheek of the reader.

It would be desirable for our people to know something of these writers, and of the position they occupy abroad; for the nature of their circulation, rather than its extent, might be the guide both to translator and buyer. The object of the first is generally money; of the last, amusement. But the merest mercenary might prefer to pass his time in translating a good book, and our imitation of Europe does not yet go so far that the American milliner can be depended on to copy any thing from the Parisian grisette, except her cap.

We have just been reading "Le Père Goriot," Balzac's most celebrated work; a remarkable production, to which Paris alone, at the present day, could have given birth.

In other of his works, I have admired his skill in giving the minute traits of passion, and his intrepidity, not inferior to that of Le Sage and Cervantes, in facing the dark side of human nature. He reminds one of the Spanish romancers in the fearlessness with which he takes mud into his hands, and dips his foot in slime. We cannot endure this when done, as by most Frenchmen, with an air of recklessness and gayety; but Balzac does it with the stern manliness of a Spaniard.

But the conception of this work is so sublime, that, though the details are even more revolting than in his others, you can bear it, and would not have missed your walk through the Catacombs, though the light of day seems stained afterwards with the mould of horror and dismay.

Balzac, we understand, is one of that wretched class of writers who live by the pen. In Paris they count now by thousands, and their leaves fall from the press thick-rustling like the November forest. I had heard of this class not without envy, for I had been told pretty tales of the gay poverty of the Frenchman--how he will live in garrets, on dry bread, salad, and some wine, and spend all his money on a single good suit of clothes, in which, when the daily labor of copying music, correcting the press, or writing poems or novels, is over, he sallies forth to enjoy the theatre, the social soirée, or the humors of the streets and cafés, as gay, as keenly alive to observation and enjoyment, as if he were to return to a well-stocked table and a cheerful hearth, encompassed by happy faces.

I thought the intellectual Frenchman, in the extreme of want, never sunk into the inert reverie of the lazzaroni, nor hid the vulture of famine beneath the mantle of pride with the bitter mood of a Spaniard. But Balzac evidently is familiar with that which makes the agony of poverty--its vulgarity.

Dirt, confusion, shabby expedients, living to live,--these are what make poverty terrible and odious, and in these Balzac would seem to have been steeped to the very lips.

These French writers possess the art of plunging at once _in medias res_, and Balzac places you, in the twinkling of an eye, in one of the lowest boarding-houses of Paris. At first all is dirt, hubbub, and unsavory odors; but from the vapors of the caldron evolves a web of many-colored life, of terrible pathos, and original humor, not unenlivened by pale golden threads of beauty, which had better never been.

All the characters are excellently drawn: the harpy mistress of the house; Mlle. Michonnet the spy, and her imbecile lover; Mme. Coutuner, with her purblind strivings after virtue, and her real, though meagre respectability; Vautrim, the disguised galley-slave, with his cynical philosophy and Bonaparte character; and the young students of medicine, cheering the dense fog with the scintillations of their wit, and the joyousness and petulance with which their age meets the most adverse circumstances, at least in France!

The connection between this abject poverty and the highest luxury of Parisian life is made naturally by Eugene, connected to his misfortune with a noble family, of which his own is a poor and young branch, studying a profession and sighing to live like a duke, and _Le Père Goriot_, who has stripped himself of all his wealth for his daughters, who are more naturally unnatural than those of Lear. The transitions are made with as much swiftness as a curtain is drawn upon the stage, yet with no feeling of abruptness, so skilfully are the incidents woven into one another.

And be it recorded to the credit of Balzac, that, much as he appears to have suffered from the want of wealth, the vices which pollute it are represented with as terrible force as those of poverty.

The book affords play for similar powers, and brings a similar range of motives into action with Scott's "Fortunes of Nigel." If less rich than that work, it is more original, and has a force of pencil all its own.

Insight and a master's hand are admirable throughout; but the product of genius is _Le Père Goriot_. And, wonderful to relate, this character is as much ennobled, made as poetical by abandonment to a single instinct, as others by the force of will. Prometheus, chained on his rock, and giving his heart to the birds of prey for aims so majestic, is scarcely a more affecting, a more reverent object, than the rich confectioner whose intellect has never been awakened at all, except in the way of buying and selling, and who gives up his acuteness even there, and commits such unspeakable follies through paternal love; a _blind_ love too, nowise superior to that of the pelican!

Analyze it as you will, see the difference between this and the instinct of the artist or the philanthropist, and it produces on your mind the same impression of a present divinity. And scarce any tears could be more sacred than those which choke the breath at the death-bed of this man, who forgot that he was a man, to be wholly a father, this poor, mad, stupid, father Goriot. I know nothing in fiction to surpass the terrible, unpretending pathos of this scene, nor the power with which the mistaken benediction given to the two medical students whom he takes for his daughters, is redeemed from burlesque.

The scepticism as to _virtue_ in this book is fearful, but the love for innocence and beautiful instincts casts a softening tint over the gloom. We never saw any thing sweeter or more natural than the letters of the mother and sisters of Eugene, when they so delightfully sent him the money of which he had been wicked enough to plunder them. These traits of domestic life are given with much grace and delicacy of sentiment.

How few writers can paint _abandon_, without running into exaggeration! and here the task was one of peculiar difficulty. It seemed as if the writer were conscious enough of his power to propose to himself the most difficult task he could undertake.

A respectable reviewer in "Les Deux Mondes" would wish us to think that there is no life in Paris like what Balzac paints; but we can never believe that: evidently it is "too true," though we doubt not there is more redemption than he sees.

But this book was too much for our nerves, and would be, probably, for those of most people accustomed to breathe a healthier atmosphere.

Balzac has been a very fruitful writer, and, as he is fond of jugglers' tricks of every description, and holds nothing earnest or sacred, he is vain of the wonderful celerity with which some of his works, and those quite as good as any, have been written. They seem to have been conceived, composed, and written down with that degree of speed with which it is possible to lay pen to paper. Indeed, we think he cannot be surpassed in the ready and sustained command of his resources. His almost unequalled quickness and fidelity of eye, both as to the disposition of external objects, and the symptoms of human passion, combined with a strong memory, have filled his mind with materials, and we doubt not that if his thoughts could be put into writing with the swiftness of thought, he would give us one of his novels every week in the year.

Here end our praises of Balzac; what he is, as a man, in daily life, we know not. He must originally have had a heart, or he could not read so well the hearts of others; perhaps there are still private ties that touch him. But as a writer, never was the modern Mephistopheles, "the spirit that denieth," more worthily represented than by Balzac.

He combines the spirit of the man of science with that of the amateur collector. He delights to analyze, to classify; there is no anomaly too monstrous, no specimen too revolting, to insure his ardent but passionless scrutiny. But then he has taste and judgment to know what is fair, rare, and exquisite. He takes up such an object carefully, and puts it in a good light. But he has no hatred for what is loathsome, no contempt for what is base, no love for what is lovely, no faith in what is noble. To him there is no virtue and no vice; men and women are more or less finely organized; noble and tender conduct is more agreeable than the reverse, because it argues better health; that is all.

Nor is this from an intellectual calmness, nor from an unusual power of analyzing motives, and penetrating delusions merely; neither is it mere indifference. There is a touch of the demon, also, in Balzac, the cold but gayly familiar demon; and the smile of the amateur yields easily to a sneer, as he delights to show you on what foul juices the fair flower was fed. He is a thorough and willing materialist. The trance of religion is congestion of the brain; the joy of the poet the thrilling of the blood in the rapture of sense; and every good not only rises from, but hastens back into, the jaws of death and nothingness; a rainbow arch above a pestilential chaos!

Thus Balzac, with all his force and fulness of talent, never rises one moment into the region of genius. For genius is, in its nature, positive and creative, and cannot exist where there is no heart to believe in realities. Neither can he have a permanent influence on a nature which is not thoroughly corrupt. He might for a while stagger an ingenuous mind which had not yet thought for itself. But this could not last. His unbelief makes his thought too shallow. He has not that power which a mind, only in part sophisticated, may retain, where the heart still beats warmly, though it sometimes beats amiss. Write, paint, argue, as you will, where there is a sound spot in any human being, he cannot be made to believe that this present bodily frame is more than a temporary condition of his being, though one to which he may have become shamefully enslaved by fault of inheritance, education, or his own carelessness.

Taken in his own way, we know no modern tragedies more powerful than Balzac's "Eugenie Grandet," "Sweet Pea," "Search after the Absolute," "Father Goriot." See there goodness, aspiration, the loveliest instincts, stifled, strangled by fate, in the form of our own brute nature. The fate of the ancient Prometheus was happiness to that of these, who must pay, for ever having believed there was divine fire in heaven, by agonies of despair, and conscious degradation, unknown to those who began by believing man to be the most richly endowed of brutes--no more!

Balzac is admirable in his description of look, tone, gesture. He has a keen sense of whatever is peculiar to the individual. Nothing in modern romance surpasses the death-scene of Father Goriot, the Parisian Lear, in the almost immortal life with which the parental instincts are displayed. And with equal precision and delicacy of shading he will paint the slightest by-play in the manners of some young girl.

"Seraphitus" is merely a specimen of his great powers of intellectual transposition. Amid his delight at the botanical riches of the new and elevated region in which he is travelling, we catch, if only by echo, the hem and chuckle of the French materialist.

No more of him!--We leave him to his suicidal work.

It is cheering to know how great is the influence such a writer as Sue exerts, from his energy of feeling on some subjects of moral interest. It is true that he has also much talent and a various experience of life; but writers who far surpass him here, as we think Balzac does, wanting this heart of faith, have no influence, except merely on the tastes of their readers.

We observe, in a late notice of Sue, that he began to write at quite mature age, at the suggestion of a friend. We should think it was so; that he was by nature intended for a practical man, rather than a writer. He paints all his characters from the practical point of view.

As an observer, when free from exaggeration, he has as good an eye as Balzac, but he is far more rarely thus free, for, in temperament, he is unequal and sometimes muddy. But then he has the heart and faith that Balzac wants, yet is less enslaved by emotion than Sand; therefore he has made more impression on his time and place than either. We refer now to his later works; though his earlier show much talent, yet his progress, both as a writer and thinker, has been so considerable that those of the last few years entirely eclipse his earlier essays.

These latter works are the "Mysteries of Paris," "Matilda," and the "Wandering Jew," which is now in course of publication. In these, he has begun, and is continuing, a crusade against the evils of a corrupt civilization which are inflicting such woes and wrongs upon his contemporaries.

Sue, however, does not merely assail, but would build up. His anatomy is not intended to injure the corpse, or, like that of Balzac, to entertain the intellectual merely. Earnestly he hopes to learn from it the remedies for disease and the conditions of health. Sue is a Socialist. He believes he sees the means by which the heart of mankind may be made to beat with one great hope, one love; and instinct with this thought, his tales of horror are not tragedies.

This is the secret of the deep interest he has awakened in this country, that he shares a hope which is, half unconsciously to herself, stirring all her veins. It is not so warmly outspoken as in other lands, both because no such pervasive ills as yet call loudly for redress, and because private conservatism is here great, in proportion to the absence of authorized despotism. We are not disposed to quarrel with this; it is well for the value of new thoughts to be tested by a good deal of resistance. Opposition, if it does not preclude free discussion, is of use in educating men to know what they want. Only by intelligent men, exercised by thought and tried in virtue, can such measures as Sue proposes be carried out; and when such associates present themselves in sufficient numbers, we have no fear but the cause of association, in its grander forms, will have fair play in America.

As a writer, Sue shows his want of a high kind of imagination by his unshrinking portraiture of physical horrors. We do not believe any man could look upon some things he describes and live. He is very powerful in his description of the workings of animal nature; especially when he speaks of them in animals merely, they have the simplicity of the lower kind with the more full expression of human nature. His pictures of women are of rare excellence, and it is observable that the more simple and pure the character is, the more justice he does to it. This shows that, whatever his career may have been, his heart is uncontaminated. Men he does not describe so well, and fails entirely when he aims at one grand and simple enough for a great moral agent. His conceptions are strong, but in execution he is too melodramatic. Just compare _his_ "Wandering Jew" with that of Beranger. The latter is as diamond compared with charcoal. Then, like all those writers who write in numbers that come out weekly or monthly, he abuses himself and his subject; he often _must_; the arrangement is false and mechanical.

The attitude of Sue is at this moment imposing, as he stands, pen in hand,--this his only weapon against an innumerable host of foes,--the champion of poverty, innocence, and humanity, against superstition, selfishness, and prejudice. When his works are forgotten,--and for all their strong points and brilliant decorations, they may ere long be forgotten,--still the writer's name shall be held in imperishable honor as the teacher of the ignorant, the guardian of the weak, a true tribune for the people of his own time.

One of the most unexceptionable and attractive writers of modern France is De Vigny. His life has been passed in the army; but many years of peace have given him time for literary culture, while his acquaintance with the traditions of the army, from the days of its dramatic achievements under Bonaparte, supply the finest materials both for narrative and reflection. His tales are written with infinite grace, refined sensibility, and a dignified view. His treatment of a subject shows that closeness of grasp and clearness of sight which are rarely attained by one who is not at home in active as well as thoughtful life. He has much penetration, too, and has touched some of the most delicate springs of human action. His works have been written in hours of leisure; this has diminished their number, but given him many advantages over the thousands of professional writers that fill the coffee-houses of Paris by day, and its garrets by night. We wish he were more read here in the original; with him would be found good French, and the manners, thoughts, and feelings of a cosmopolitan gentleman.

To sum up this imperfect account of the merits of these Novelists: I see De Vigny, a retiring figure, the gentleman, the solitary thinker, but, in his way, the efficient foe of false honor and superstitious prejudice; Balzac is the heartless surgeon, probing the wounds and describing the delirium of suffering men for the amusement of his students; Sue, a bold and glittering crusader, with endless ballads jingling in the silence of the night before the battle. They are all much right and a good deal wrong; for instance, all who would lay down their lives for the sake of truth, yet let their virtuous characters practise stratagems, falsehood, and violence; in fact, do evil for the sake of good. They still show this taint of the old régime, and no wonder! La belle France has worn rouge so long that the purest mountain air will not, at once, or soon, restore the natural hues to her complexion. But they are fine figures, and all ruled by the onward spirit of the time. Led by that spirit, I see them moving on the troubled waters; they do not sink, and I trust they will find their way to the coasts where the new era will introduce new methods, in a spirit of nobler activity, wiser patience, and holier faith, than the world has yet seen.

Will Balzac also see that shore, or has he only broken away the bars that hindered others from setting sail? We do not know. When we read an expression of such lovely innocence as the letter of the little country maidens to their Parisian brother, (in Father Goriot,) we hope; but presently we see him sneering behind the mask, and we fear. Let Frenchmen speak to this question. They know best what disadvantages a Frenchman suffers under, and whether it is possible Balzac be still alive, except in his eyes. Those, we know, are quite alive.

To read these, or any foreign works fairly, the reader must understand the national circumstances under which they were written. To use them worthily, he must know how to interpret them for the use of the universe.

THE NEW SCIENCE, OR THE PHILOSOPHY OF MESMERISM OR ANIMAL MAGNETISM.[21]

Man is always trying to get charts and directions for the super-sensual element in which he finds himself involuntarily moving. Sometimes, indeed, for long periods, a life of continual activity in supplying bodily wants or warding off bodily dangers will make him inattentive to the circumstances of this other life. Then, in an interval of leisure, he will start to find himself pervaded by the power of this more subtle and searching energy, and will turn his thoughts, with new force, to scrutinize its nature and its promises.

At such times a corps is formed of workmen, furnished with various implements for the work. Some collect facts from which they hope to build up a theory; others propose theories by whose light they hope to detect valuable facts; a large number are engaged in circulating reports of these labors; a larger in attempting to prove them invalid and absurd. These last are of some use by shaking the canker-worms from the trees; all are of use in elucidating truth.

Such a course of study has the civilized world been engaged in for some years back with regard to what is called Animal Magnetism. We say the civilized world, because, though a large portion of the learned and intellectual, to say nothing of the thoughtless and the prejudiced, view such researches as folly, yet we believe that those prescient souls, those minds more deeply alive, which are the life of this and the parents of the next era, all, more or less, consciously or unconsciously, share the belief in such an agent as is understood by the largest definition of animal magnetism; that is, a means by which influence and thought may be communicated from one being to another, independent of the usual organs, and with a completeness and precision rarely attained through these.

For ourselves, since we became conscious at all of our connection with the two forms of being called the spiritual and material, we have perceived the existence of such an agent, and should have no doubts on the subject, if we had never heard one human voice in correspondent testimony with our perceptions. The reality of this agent we know, have tested some of its phenomena, but of its law and its analysis find ourselves nearly as ignorant as in earliest childhood. And we must confess that the best writers we have read seem to us about equally ignorant. We derive pleasure and profit in very unequal degrees from their statements, in proportion to their candor, clearness of perception, severity of judgment, and largeness of view. If they possess these elements of wisdom, their statements are valuable as affording materials for the true theory; but theories proposed by them affect us, as yet, only as partially sustained hypotheses. Too many among them are stained by faults which must prevent their coming to any valuable results, sanguine haste, jealous vanity, a lack of that profound devotion which alone can win Truth from her cold well, careless classification, abrupt generalizations. We see, as yet, no writer great enough for the patient investigation, in a spirit liberal yet severely true, which the subject demands. We see no man of Shakspearian, Newtonian incapability of deceiving himself or others.

However, no such man is needed, and we believe that it is pure democracy to rejoice that, in this department as in others, it is no longer some one great genius that concentrates within himself the vital energy of his time. It is many working together who do the work. The waters spring up in every direction, as little rills, each of which performs its part. We see a movement corresponding with this in the region of exact science, and we have no doubt that in the course of fifty years a new spiritual circulation will be comprehended as clearly as the circulation of the blood is now.

In metaphysics, in phrenology, in animal magnetism, in electricity, in chemistry, the tendency is the same, even when conclusions seem most dissonant. The mind presses nearer home to the seat of consciousness the more intimate law and rule of life, and old limits, become fluid beneath the fire of thought. We are learning much, and it will be a grand music, that shall be played on this organ of many pipes.

With regard to Mr. Grimes's book, in the first place, we do not possess sufficient knowledge of the subject to criticise it thoroughly; and secondly, if we did, it could not be done in narrow limits. To us his classification is unsatisfactory, his theory inadequate, his point of view uncongenial. We disapprove of the spirit in which he criticises other disciples in this science, who have, we believe, made some good observations, with many failures, though, like himself, they do not hold themselves sufficiently lowly as disciples. For we do not believe there is any man, _yet_, who is entitled to give himself the air of having taken a degree on this subject. We do not want the tone of qualification or mincing apology. We want no mock modesty, but its reality, which is the almost sure attendant on greatness. What a lesson it would be for this country if a body of men could be at work together in that harmony which would not fail to ensue on a _disinterested_ love of discovering truth, and with that patience and exactness in experiment without which no machine was ever invented worthy a patent! The most superficial, go-ahead, hit-or-miss American knows that no machine was ever perfected without this patience and exactness; and let no one hope to achieve victories in the realm of mind at a cheaper rate than in that of matter.

In speaking thus of Mr. Grimes's book, we can still cordially recommend it to the perusal of our readers. Its statements are full and sincere. The writer has abilities which only need to be used with more thoroughness and a higher aim to guide him to valuable attainments.

In this connection we will relate a passage from personal experience, to us powerfully expressive of the nature of this higher agent in the intercourse of minds.

Some years ago I went, unexpectedly, into a house where a blind girl, thought at that time to have attained an extraordinary degree of clairvoyance, lay in a trance of somnambulism. I was not invited there, nor known to the party, but accompanied a gentleman who was.

The somnambulist was in a very happy state. On her lips was the satisfied smile, and her features expressed the gentle elevation incident to the state. At that time I had never seen any one in it, and had formed no image or opinion on the subject. I was agreeably impressed by the somnambulist, but on listening to the details of her observations on a distant place, I thought she had really no vision, but was merely led or impressed by the mind of the person who held her hand.

After a while I was beckoned forward, and my hand given to the blind girl. The latter instantly dropped it with an expression of pain, and complained that she should have been brought in contact with a person so sick, and suffering at that moment under violent nervous headache. This really was the case, but no one present could have been aware of it.

After a while the somnambulist seemed penitent and troubled. She asked again for my hand which she had rejected, and, while holding it, attempted to magnetize the sufferer. She seemed touched by profound pity, spoke most intelligently of the disorder of health and its causes, and gave advice, which, if followed at that time, I have every reason to believe would have remedied the ill.

Not only the persons present, but the person advised also, had no adequate idea then of the extent to which health was affected, nor saw fully, till some time after, the justice of what was said by the somnambulist. There is every reason to believe that neither she, nor the persons who had the care of her, knew even the name of the person whom she so affectionately wished to help.

Several years after, in visiting an asylum for the blind, I saw this same girl seated there. She was no longer a somnambulist, though, from a nervous disease, very susceptible to magnetic influences. I went to her among a crowd of strangers, and shook hands with her as several others had done. I then asked, "Do you not not know me?" She answered, "No." "Do you not remember ever to have met me?" She tried to recollect, but still said, "No." I then addressed a few remarks to her about her situation there, but she seemed preoccupied, and, while I turned to speak with some one else, wrote with a pencil these words, which she gave me at parting:--

"The ills that Heaven decrees The brave with courage bear."

Others may explain this as they will; to me it was a token that the same affinity that had acted before, gave the same knowledge; for the writer was at the time ill in the same way as before. It also seemed to indicate that the somnambulic trance was only a form of the higher development, the sensibility to more subtle influences--in the terms of Mr. Grimes, a susceptibility to etherium. The blind girl perhaps never knew who I was, but saw my true state more clearly than any other person did, and I have kept those pencilled lines, written in the stiff, round character proper to the blind, as a talisman of "Credenciveness," as the book before me styles it. Credulity as the world at large does, and, to my own mind, as one of the clews granted, during this earthly life, to the mysteries of future states of being, and more rapid and complete modes of intercourse between mind and mind.

DEUTSCHE SCHNELLPOST.[22]

The publishers of this interesting and spirited journal have, this year, begun to issue a weekly paper in addition to their former arrangement. We regret not to have been able earlier to take some notice of their prospectus, but an outline of it will be new to most of our readers.

Their journal has hitherto been intended for German readers in this country, and has been devoted to topics of European interest, but by the addition of the Weekly, it hopes to discuss with some fulness those of American interest also; thus becoming "an organ of communication between Germans of the old and new home, as to their wants, interests, and thoughts." These judicious remarks follow:--

"The editors do not coincide with those who believe it the vocation of the immigrant German, by systematic separation from the people who offer him a new home, by voluntary withdrawal from the unaccustomed, and, perhaps, for him too vehement stream of their life, in a word, by obstinate adhesion to the old, to keep inviolate the stamp of his nationality.

"Rather is it their faith that it should be the most earnest desire of the immigrant, not merely to appropriate in form, but to _deserve_ the rights of a citizen here--rights which we confide in the healthy mind of the nation to sustain him in, all fanatical opposition to the contrary notwithstanding. And he must deserve them by becoming an American, not merely in name, but in deed, not merely by assuming claims, but by appreciating duties.

"But while we renounce this narrow and one-sided isolation, desiring to integrate ourselves, fairly and truly, with the great family that receives us to its hospitality, we will hold so much the more firmly to the higher traits of our own race. We hold to the noble jewel of our native tongue; the memories of our nation's ancient glory; the sympathy with its future, as yet only glimmering in the dusk; our old, true, domestic manners; dear inherited customs, that give to the tranquillities of home their sanctity--to the intercourse between men a fresh, glad life.

"So much for our position in general."

They promise, as to American affairs, "to be just as far as in them lies, and independent, certainly."

We think the tone of these remarks truly honorable and right-minded. It is such a tone that each division of our adopted citizens needs to hear from those of their compatriots able to guide and enlighten them. We do want that each nation should preserve what is valuable in its parent stock. We want all the elements for the new people of the new world. We want the prudence, the honor, the practical skill of the English; the fun, the affectionateness, the generosity of the Irish; the vivacity, the grace, the quick intelligence of the French; the thorough honesty, the capacity for philosophic view, and deep enthusiasm of the German Biedermann; the shrewdness and romance of the Scotch,--but we want none of their prejudices. We want the healthy seed to develop itself into a different plant in the new climate. We have reason to hope a new and generous race, where the Italian meets the German, the Swede, the Jew. Let nothing be obliterated, but all be regenerated; let each leader say in like manner to his band. Apply the old loyalty to a study of new duties. Examine yourself whether you are worthy of the new rights so freely bestowed upon you, and recognize that only intelligent action, and not mere bodily presence, can make you really a citizen on any soil. It is a glorious boon offered you to be a founder of the new dynasty in the new world; but it would have been better for you to have died a thousand deaths beneath the factory wheels of England, or in the prisons of Russia, than to sell this great privilege for selfish or servile ends. Here each man has before him the choice of Esau--each may defraud a long succession of souls of their princely inheritance.

Do those whose bodies were born upon this soil reject you, and claim for themselves the name of natives? You may be natives, in another sort, for the soul may be re-born here. Cast for yourselves a new nativity, and invoke the starry influences that do not fail to shine into the life of a good man, whose heart is kept open daily to truth in every new form, whose heart is strengthened by a desire to do his duty valiantly to every brother of the human family. Offer upon the soil a libation of worthy feelings in gratitude for the bread it so willingly yields you, and it is true that the "healthy mind of the nation" cannot long fail to greet you with joy, and hail your endowment with civic rights.

We must think there is a deep root, in fact, for the late bitter expressions of prejudice, however unworthy the mode of exhibiting them, against the foreign element in our population. We want all this new blood, but we want it purified, assimilated, or it will take all form of comeliness from the growing nation. Our country is a willing foster mother, but her children need wise tutors to prevent them from playing, willingly or unwillingly, the viper's part.

There is a little poem in the Schnellpost, by Moritz Hartmann, called the "Three,"--which would be a forcible appeal, if any were needed, in behalf of all who are exiled from their native soil. We translate it into prose, and this will not spoil it, as its poetry lies in the situation.

"In a tavern of Hungary are sitting together Three who have taken refuge there from storm and darkness--in Hungary, where the wind of chance drives together the children of many a land.

"Their eyes glow with fires of various light; their locks are unlike in their flow; but their hearts--their wounded hearts--are urns filled with the tears of a common grief.

"One cries, 'Silent companions! Shall we have no toast to cheer our meeting? I offer you one which you cannot fail to pledge--Freedom and greatness to the Fatherland!

"'To the fatherland! But I am one that knows not where is his; I am a Gypsy; my fatherland lies in the realm of tradition--in the mournful tone of the violin swelled by grief and storm.

"'I pass musing over heath and moor, and think of my painful losses. Yet long since was I weaned from desire of a home, and think of Egypt but as the cymbal sounds.'

"The second says, 'This toast of fatherland I will not drink; mine own shame should I pledge. For the seed of Jacob flies like the dried leaf, and takes no root in the dust of slavery.'

"The lips of the third seem frozen at the edge of his goblet. He asks himself in silence, 'Shall _I_ drink to the fatherland? Lives Poland yet, or is all life departed, and am I, like these, a motherless son?'"

To those and others who, if they still had homes, could not live there, without starving body and soul, may our land be a fatherland; and may they seek and learn to act as children in a father's house!

A foreign correspondent of the Schnellpost, having, it seems, been reproved by some friends on the safe side of the water for the violence of his attack on crowned heads, and other dilettanti, defends himself with great spirit, and argues his case well from his own point of view. We do not agree with him as to the use of methods, but cannot fail to sympathize in his feeling.

Anecdotes of Russian proceedings towards delinquents are well associated with one anecdote quoted of Peter, who yet was truly the Great. In a foreign city, seeing the gallows, he asked the use of that three-cornered thing. Being told, to hang people on, he requested that one might be hung for him, directly. Being told this, unfortunately, could not be done, as there was no criminal under sentence, he desired that one of his own retinue might be made use of. Probably he did this with no further thought than the Empress Catharine bestowed, on having a ship of the line blown up, as a model for the painter who was to adorn her palace with pictures of naval battles. Disregard for human life and human happiness is not confined to the Russian snows, or the eastern hemisphere; it may be found on every side, though, indeed, not on a scale so imperial.

OLIVER CROMWELL.[23]

A long expectation is rewarded at last by the appearance of this book. We cannot wonder that it should have been long, when Mr. Carlyle shows us what a world of ill-arranged and almost worthless materials he has had to wade through before achieving any possibility of order and harmony for his narrative.

The method which he has chosen of letting the letters and speeches of Cromwell tell the story when possible, only himself doing what is needful to throw light where it is most wanted and fill up gaps, is an excellent one. Mr. Carlyle, indeed, is a most peremptory showman, and with each slide of his magic lantern informs us not only of what is necessary to enable us to understand it, but _how_ we must look at it, under peril of being ranked as "imbeciles," "canting sceptics," "disgusting rose-water philanthropists," and the like. And aware of his power of tacking a nickname or ludicrous picture to any one who refuses to obey, we might perhaps feel ourselves, if in his neighborhood, under such constraint and fear of deadly laughter, as to lose the benefit of having under our eye to form our judgment upon the same materials on which he formed his.

But the ocean separates us, and the showman has his own audience of despised victims, or scarce less despised pupils; and we need not fear to be handed down to posterity as "a little gentleman in a gray coat" "shrieking" unutterable "imbecilities," or with the like damnatory affixes, when we profess that, having read the book, and read the letters and speeches thus far, we cannot submit to the showman's explanation of the lantern, but must, more than ever, stick to the old "Philistine," "Dilettante," "Imbecile," and what not view of the character of Cromwell.

We all know that to Mr. Carlyle greatness is well nigh synonymous with virtue, and that he has shown himself a firm believer in Providence by receiving the men of destiny as always entitled to reverence. Sometimes a great success has followed the portraits painted by him in the light of such faith, as with regard to Mahomet, for instance. The natural autocrat is his delight, and in such pictures as that of the monk in "Past and Present," where the geniuses of artist and subject coincide, the result is no less delightful for us.

But Mr. Carlyle reminds us of the man in a certain parish who had always looked up to one of its squires as a secure and blameless idol, and one day in church, when the minister asked "all who felt in concern for their souls to rise," looked to the idol and seeing him retain his seat, (asleep perchance!) sat still also. One of his friends asking him afterwards how he could refuse to answer such an appeal, he replied, "he thought it safest to stay with the squire."

Mr. Carlyle's squires are all Heaven's justices of peace or war, (usually the latter;) they are beings of true energy and genius, and so far, as he describes them, "genuine men." But in doubtful cases, where the doubt is between them and principles, he will insist that the men must be in the right. On such occasions he favors us with such doctrine as the following, which we confess we had the weakness to read with "sibylline execration" and extreme disgust.

Speaking of Cromwell's course in Ireland:--

"Oliver's proceedings here have been the theme of much loud criticism, sibylline execration, into which it is not our plan to enter at present. We shall give these fifteen letters of his in a mass, and without any commentary whatever. To those who think that a land overrun with sanguinary quacks can be healed by sprinkling it with rose-water, these letters must be very horrible. Terrible surgery this; but _is_ it surgery and judgment, or atrocious murder merely? This is a question which should be asked; and answered. Oliver Cromwell did believe in God's judgments; and did not believe in the rose-water plan of surgery,--which, in fact, is this editor's case too! Every idle lie and piece of empty bluster this editor hears, he too, like Oliver, has to shudder at it; has to think, 'Thou, idle bluster, not true, thou also art shutting men's minds against God's fact; thou wilt issue as a cleft crown to some poor man some day; thou also wilt have to take shelter in bogs, whither cavalry cannot follow!' But in Oliver's time, as I say, there was still belief in the judgments of God; in Oliver's time, there was yet no distracted jargon of 'abolishing capital punishments,' of Jean-Jacques philanthropy, and universal rose-water in this world still so full of sin. Men's notion was, not for abolishing punishments, but for making laws just. God the Maker's laws, they considered, had not yet got the punishment abolished from them! Men had a notion that the difference between good and evil was still considerable--equal to the difference between heaven and hell. It was a true notion, which all men yet saw, and felt, in all fibres of their existence, to be true. Only in late decadent generations, fast hastening toward radical change or final perdition, can such indiscriminate mashing up of good and evil into one universal patent treacle, and most unmedical electuary, of Rousseau sentimentalism, universal pardon and benevolence, with dinner and drink and one cheer more, take effect in our earth. Electuary very poisonous, as sweet as it is, and very nauseous; of which Oliver, happier than we, had not yet heard the slightest intimation even in dreams.

* * * * *

"In fact, Oliver's dialect is rude and obsolete; the phrases of Oliver, to him solemn on the perilous battle field as voices of God, have become to us most mournful when spouted as frothy cant from Exeter Hall. The reader has, all along, to make steady allowance for that. And on the whole, clear recognition will be difficult for him. To a poor slumberous canting age, mumbling to itself every where, Peace, peace, when there is no peace,--such a phenomena as Oliver, in Ireland or elsewhere, is not the most recognizable in all its meanings. But it waits there for recognition, and can wait an age or two. The memory of Oliver Cromwell, as I count, has a good many centuries in it yet; and ages of very varied complexion to apply to, before all end. My reader, in this passage and others, shall make of it what he can.

"But certainly, at lowest, here is a set of military despatches of the most unexampled nature! Most rough, unkempt; shaggy as the Numidian lion. A style rugged as crags; coarse, drossy: yet with a meaning in it, an energy, a depth; pouring on like a fire torrent; perennial _fire_ of it visible athwart all drosses and defacements; not uninteresting to see! This man has come into distracted Ireland with a God's truth in the heart of him, though an unexpected one; the first such man they have seen for a great while indeed. He carries acts of Parliament, laws of earth and heaven, in one hand; drawn sword in the other. He addresses the bewildered Irish populations, the black ravening coil of sanguinary blustering individuals at Tredah and elsewhere: 'Sanguinary, blustering individuals, whose word is grown worthless as the barking of dogs; whose very thought is false, representing no fact, but the contrary of fact--behold, I am come to speak and to do the truth among you. Here are acts in Parliament, methods of regulation and veracity, emblems the nearest we poor Puritans could make them of God's law-book, to which it is and shall be our perpetual effort to make them correspond nearer and nearer. Obey them, help us to perfect them, be peaceable and true under them, it shall be well with you. Refuse to obey them, I will not let you continue living! As articulate speaking veracious orderly men, not as a blustering, murderous kennel of dogs run rabid, shall you continue in this earth. Choose!' They chose to disbelieve him; could not understand that he, more than the others, meant any truth or justice to them. They rejected his summons and terms at Tredah; he stormed the place; and, according to his promise, put every man of the garrison to death. His own soldiers are forbidden to plunder, by paper proclamation; and in ropes of authentic hemp, they are hanged when they do it. To Wexford garrison, the like terms as at Tredah; and, failing these, the like storm. Here is a man whose word represents a thing! Not bluster this, and false jargon scattering itself to the winds; what this man speaks out of him comes to pass as a fact; speech with this man is accurately prophetic of deed. This is the first king's face poor Ireland ever saw; the first friend's face, _little as it recognizes him_--poor Ireland!"

Yes, Cromwell had force and sagacity to get that done which he had resolved to get done; and this is the whole truth about your admiration, Mr. Carlyle. Accordingly, at Drogheda quoth Cromwell,--

"I believe we put to sword the whole number of the defendants. * * Indeed, being in the heat of action, I forbade them to spare any that were in arms in the town; and I think that night they put to the sword about two thousand men, divers of the officers and soldiers being fled over the bridge into the other part of the town; and where about one hundred of them possessed St. Peter's Church, steeple, &c. These, being summoned to yield to mercy, refused. Whereupon I ordered the steeple of St. Peter's Church to be fired; when one of them was heard to say, in the midst of the flames, 'God confound me! I burn, I burn!'

"I am persuaded that this is a righteous judgment of God upon these barbarous wretches who have imbrued their hands in so much innocent blood; and that it will tend to prevent the effusion of blood for the future. Which are the satisfactory grounds to such actions, which otherwise cannot but work remorse and regret. * * This hath been an exceeding great mercy."

Certainly one not of the rose-water or treacle kind. Mr. Carlyle says such measures "cut to the heart of the war," and brought peace. Was there _then_ no crying of Peace, Peace, when there was no peace? Ask the Irish peasantry why they mark that period with the solemn phrase of "Cromwell's Curse!"

For ourselves, though aware of the mistakes and errors in particulars that must occur, we believe the summing up of a man's character in the verdict of his time, is likely to be correct. We believe that Cromwell was "a curse," as much as a blessing, in these acts of his. We believe him ruthless, ambitious, half a hypocrite, (few men have courage or want of soul to bear being wholly so,) and we think it is rather too bad to rave at us in our time for canting, and then hold up the prince of canters for our reverence in his "dimly seen nobleness." Dimly, indeed, despite the rhetoric and satire of Mr. Carlyle!

In previous instances where Mr. Carlyle has acted out his predeterminations as to the study of a character, we have seen circumstances favor him, at least sometimes. There were fine moments, fine lights upon the character that he would seize upon. But here the facts look just as they always have. He indeed ascertains that the Cromwell family were not mere brewers or plebeians, but "substantial gentry," and that there is not the least ground for the common notion that Cromwell lived at any time a dissolute life. But with the exception of these emendations, still the history looks as of old. We see a man of strong and wise mind, educated by the pressure of great occasions to station of command; we see him wearing the religious garb which was the custom of the times, and even preaching to himself as well as to others--for well can we imagine that his courage and his pride would have fallen without keeping up the illusion; but we never see Heaven answering his invocations in any way that can interfere with the rise of his fortunes or the accomplishment of his plans. To ourselves, the tone of these religious holdings-forth is sufficiently expressive; they all ring hollow; we have never read any thing of the sort more repulsive to us than the letter to Mr. Hammond, which Mr. Carlyle thinks such a noble contrast to the impiety of the present time. Indeed, we cannot recover from our surprise at Mr. Carlyle's liking these letters; his predetermination must have been strong indeed. Again, we see Cromwell ruling with the strong arm, and carrying the spirit of monarchy to an excess which no Stuart could surpass. Cromwell, indeed, is wise, and the king he had punished with death is foolish; Charles is faithless, and Cromwell crafty; we see no other difference. Cromwell does not, in power, abide by the principles that led him to it; and we can't help--so rose-water imbecile are we!--admiring those who do: one Lafayette, for instance--poor chevalier so despised by Mr. Carlyle--for abiding by his principles, though impracticable, more than Louis Philippe, who laid them aside, so far as necessary, "to secure peace to the kingdom;" and to us it looks black for one who kills kings to grow to be more kingly than a king.

The death of Charles I. was a boon to the world, for it marked the dawn of a new era, when kings, in common with other men, are to be held accountable by God and mankind for what they do. Many who took part in this act which _did_ require a courage and faith almost unparalleled, were, no doubt, moved by the noblest sense of duty. We doubt not this had its share in the bosom counsels of Cromwell. But we cannot sympathize with the apparent satisfaction of Mr. Carlyle in seeing him engaged, two days after the execution, in marriage treaty for his son. This seems more ruthlessness than calmness. One who devoted so many days to public fasting and prayer, on less occasions, might well make solemn pause on this. Mr. Carlyle thinks much of some pleasant domestic letters from Cromwell. What brigand, what pirate, fails to have some such soft and light feelings?

In short, we have no time to say all we think; but we stick to the received notions of Old Noll, with his great, red nose, hard heart, long head, and crafty ambiguities. Nobody ever doubted his great abilities and force of will; neither doubt we that he was made an "instrument" just as he professeth. But as to looking on him through Mr. Carlyle's glasses, we shall not be sneered or stormed into it, unless he has other proof to offer than is shown yet. And we resent the violence he offers both to our prejudices and our perceptions. If he has become interested in Oliver, or any other pet hyena, by studying his habits, is that any reason we should admit him to our Pantheon? No! our imbecility shall keep fast the door against any thing short of proofs that in the hyena a god is incarnated. Mr. Carlyle declares that he sees it, but we really cannot. The hyena is surely not out of the kingdom of God, but as to being the finest emblem of what is divine--no, no!

In short, we can sympathize with the words of John Maidstone:--

"He [Cromwell] was a strong man in the dark perils of war; in the high places of the field, hope shone in him like a pillar of fire, when it had gone out in the others"--a poetic and sufficient account of the secret of his power.

But Mr. Carlyle goes on to gild the refined gold thus:--

"A genuine king among men, Mr. Maidstone! The divinest sight this world sees, when it is privileged to see such, and not be sickened with the unholy apery of such."

We know you do with all your soul love kings and heroes, Mr. Carlyle, but we are not sure you would always know the Sauls from the Davids. We fear, if you had the disposal of the holy oil, you would be tempted to pour it on the head of him who is taller by the head than all his brethren, without sufficient care as to purity of inward testimony.

Such is the impression left on us by the book thus far, as to the view of its hero; but as to what difficulties attended the writing the history of Cromwell, the reader will like to see what Mr. Carlyle himself says:--

"These authentic utterances of the man Oliver himself--I have gathered them from far and near; fished them up from the foul Lethean quagmires where they lay buried; I have washed, or endeavored to wash, them clean from foreign stupidities, (such a job of buck-washing as I do not long to repeat;) and the world shall now see them in their own shape."

For the rest, this book is of course entertaining, witty, dramatic, picturesque; all traits that are piquant, many that have profound interest, are brought out better than new. The "letters and speeches" are put into readable state, and this alone is a great benefit. They are a relief after Mr. Carlyle's high-seasoned writing; and this again is a relief after their long-winded dimnesses. Most of the heroic anecdotes of the time had been used up before, but they lose nothing in the hands of Carlyle; and pictures of the scenes, such as of Naseby fight, for instance, it was left to him to give. We have passed over the hackneyed ground attended by a torch-bearer, who has given a new animation to the procession of events, and cast a ruddy glow on many a striking physiognomy. That any truth of high value has been brought to light, we do not perceive--certainly nothing has been added to our own sense of the greatness of the times, nor any new view presented that we can adopt, as to the position and character of the agents.

We close with the only one of Cromwell's letters that we really like. Here his religious words and his temper seem quite sincere.

"_To my loving Brother, Colonel Valentine Walton: These._

July, 1644.

"DEAR SIR: It's our duty to sympathize in all mercies; and to praise the Lord together in chastisements or trials, so that we may sorrow together.

"Truly England and the church of God hath had a great favor from the Lord, in this great victory given unto us, such as the like never was since this war began. It had all the evidences of an absolute victory obtained by the Lord's blessing upon the godly party principally. We never charged but we routed the enemy. The left wing, which I commanded, being our own horse, saving a few Scots in our rear, beat all the prince's horse. God make them as stubble to our swords. We charged their regiments of foot with our horse, and routed all we charged. The particulars I cannot relate now; but I believe, of twenty thousand, the prince hath not four thousand left. Give glory, all the glory, to God.

"Sir, God hath taken away your eldest son by a cannon-shot. It brake his leg. We were necessitated to have it cut off, whereof he died.

"Sir, you know my own trials this way;[24] but the Lord supported me with this, that the Lord took him into the happiness we all pant for and live for. There is your precious child, full of glory, never to know sin or sorrow any more. He was a gallant young man, exceedingly gracious. God give you his comfort. Before his death he was so full of comfort, that to Frank Russel and myself he could not express it, 'it was so great above his pain.' This he said to us. Indeed it was admirable. A little after, he said one thing lay upon his spirit. I asked him what that was. He told me it was, that God had not suffered him to be any more the executioner of his enemies. At his fall, his horse being killed with the bullet, and, as I am informed, three horses more, I am told he bid them open to the right and left, that he might see the rogues run. Truly he was exceedingly beloved in the army, of all that knew him. But few knew him; for he was a precious young man, fit for God. You have cause to bless the Lord. He is a glorious saint in heaven; wherein you ought exceedingly to rejoice. Let this drink up your sorrow: seeing these are not feigned words to comfort you, but the thing is so real and undoubted a truth. You may do all things by the strength of Christ. Seek that, and you shall easily bear your trial. Let this public mercy to the church of God make you to forget your private sorrow. The Lord be your strength; so prays

"Your truly faithful and loving brother, "OLIVER CROMWELL."

And add this noble passage, in which Carlyle speaks of the morbid affection of Cromwell's mind:--

"In those years it must be that Dr. Simcott, physician in Huntingdon, had to do with Oliver's hypochondriac maladies. He told Sir Philip Warwick, unluckily specifying no date, or none that has survived, 'he had often been sent for at midnight;' Mr. Cromwell for many years was very 'splenetic,' (spleen-struck,) often thought he was just about to die, and also 'had fancies about the Town Cross.'[25] Brief intimation, of which the reflective reader may make a great deal. Samuel Johnson too had hypochondrias; all great souls are apt to have; and to be in thick darkness generally, till the eternal ways and the celestial guiding stars disclose themselves, and the vague abyss of life knit itself up into firmaments for them. The temptations in the wilderness, choices of Hercules, and the like, in succinct or loose form, are appointed for every man that will assert a soul in himself and be a man. Let Oliver take comfort in his dark sorrows and melancholies. The quantity of sorrow he has, does it not mean withal the quantity of _sympathy_ he has, the quantity of faculty and victory he shall yet have? 'Our sorrow is the inverted image of our nobleness.' The depth of our despair measures what capability, and height of claim, we have to hope. Black smoke as of Tophet filling all your universe, it can yet by true heart-energy become _flame_, and brilliancy of heaven. Courage!"

Were the flame but a pure as well as a bright flame! Sometimes we know the black phantoms change to white angel forms; the vulture is metamorphosed into a dove. Was it so in this instance? Unlike Mr. Carlyle, we are willing to let each reader judge for himself; but perhaps we should not be so generous if we had studied ourselves sick in wading through all that mass of papers, and had nothing to defend us against the bitterness of biliousness, except a growing enthusiasm about our hero.

EMERSON'S ESSAYS[26]

At the distance of three years this volume follows the first series of Essays, which have already made to themselves a circle of readers, attentive, thoughtful, more and more intelligent; and this circle is a large one if we consider the circumstances of this country, and of England also, at this time.

In England it would seem there are a larger number of persons waiting for an invitation to calm thought and sincere intercourse than among ourselves. Copies of Mr. Emerson's first published little volume called "Nature," have there been sold by thousands in a short time, while one edition has needed seven years to get circulated here. Several of his orations and essays from the "Dial" have also been republished there, and met with a reverent and earnest response.

We suppose that while in England the want of such a voice is as great as here, a larger number are at leisure to recognize that want; a far larger number have set foot in the speculative region, and have ears refined to appreciate these melodious accents.

Our people, heated by a partisan spirit, necessarily occupied in these first stages by bringing out the material resources of the land, not generally prepared by early training for the enjoyment of books that require attention and reflection, are still more injured by a large majority of writers and speakers, who lend all their efforts to flatter corrupt tastes and mental indolence, instead of feeling it their prerogative and their duty to admonish the community of the danger and arouse it to nobler energy. The plan of the popular writer or lecturer is not to say the best he knows in as few and well-chosen words as he can, making it his first aim to do justice to the subject. Rather he seeks to beat out a thought as thin as possible, and to consider what the audience will be most willing to receive.

The result of such a course is inevitable. Literature and art must become daily more degraded; philosophy cannot exist. A man who feels within his mind some spark of genius, or a capacity for the exercises of talent, should consider himself as endowed with a sacred commission. He is the natural priest, the shepherd of the people. He must raise his mind as high as he can towards the heaven of truth, and try to draw up with him those less gifted by nature with ethereal lightness. If he does not so, but rather employs his powers to flatter them in their poverty, and to hinder aspiration by useless words, and a mere seeming of activity, his sin is great; he is false to God, and false to man.

Much of this sin indeed is done ignorantly. The idea that literature calls men to the genuine hierarchy is almost forgotten. One, who finds himself able, uses his pen, as he might a trowel, solely to procure himself bread, without having reflected on the position in which he thereby places himself.

Apart from the troop of mercenaries, there is one, still larger, of those who use their powers merely for local and temporary ends, aiming at no excellence other than may conduce to these. Among these rank persons of honor and the best intentions; but they neglect the lasting for the transient, as a man neglects to furnish his mind that he may provide the better for the house in which his body is to dwell for a few years.

At a period when these sins and errors are prevalent, and threaten to become more so, how can we sufficiently prize and honor a mind which is quite pure from such? When, as in the present case, we find a man whose only aim is the discernment and interpretation of the spiritual laws by which we live, and move, and have our being, all whose objects are permanent, and whose every word stands for a fact.

If only as a representative of the claims of individual culture in a nation which is prone to lay such stress on artificial organization and external results, Mr. Emerson would be invaluable here. History will inscribe his name as a father of his country, for he is one who pleads her cause against herself.

If New England may be regarded as a chief mental focus to the New World,--and many symptoms seem to give her this place,--as to other centres belong the characteristics of heart and lungs to the body politic; if we may believe, as we do believe, that what is to be acted out, in the country at large, is, most frequently, first indicated there, as all the phenomena of the nervous system are in the fantasies of the brain, we may hail as an auspicious omen the influence Mr. Emerson has there obtained, which is deep-rooted, increasing, and, over the younger portion of the community, far greater than that of any other person.

His books are received there with a more ready intelligence than elsewhere, partly because his range of personal experience and illustration applies to that region; partly because he has prepared the way for his books to be read by his great powers as a speaker.

The audience that waited for years upon the lectures, a part of which is incorporated into these volumes of Essays, was never large, but it was select, and it was constant. Among the hearers were some, who, though, attracted by the beauty of character and manner, they were willing to hear the speaker through, yet always went away discontented. They were accustomed to an artificial method, whose scaffolding could easily be retraced, and desired an obvious sequence of logical inferences. They insisted there was nothing in what they had heard, because they could not give a clear account of its course and purport. They did not see that Pindar's odes might be very well arranged for their own purpose, and yet not bear translating into the methods of Mr. Locke.

Others were content to be benefited by a good influence, without a strict analysis of its means. "My wife says it is about the elevation of human nature, and so it seems to me," was a fit reply to some of the critics. Many were satisfied to find themselves excited to congenial thought and nobler life, without an exact catalogue of the thoughts of the speaker.

Those who believed no truth could exist, unless encased by the burrs of opinion, went away utterly baffled. Sometimes they thought he was on their side; then presently would come something on the other. He really seemed to believe there were two sides to every subject, and even to intimate higher ground, from which each might be seen to have an infinite number of sides or bearings, an impertinence not to be endured! The partisan heard but once, and returned no more.

But some there were,--simple souls,--whose life had been, perhaps, without clear light, yet still a-search after truth for its own sake, who were able to receive what followed on the suggestion of a subject in a natural manner, as a stream of thought. These recognized, beneath the veil of words, the still small voice of conscience, the vestal fires of lone religious hours, and the mild teachings of the summer woods.

The charm of the elocution, too, was great. His general manner was that of the reader, occasionally rising into direct address or invocation in passages where tenderness or majesty demanded more energy. At such times both eye and voice called on a remote future to give a worthy reply,--a future which shall manifest more largely the universal soul as it was then manifest to this soul. The tone of the voice was a grave body tone, full and sweet rather than sonorous, yet flexible, and haunted by many modulations, as even instruments of wood and brass seem to become after they have been long played on with skill and taste; how much more so the human voice! In the more expressive passages it uttered notes of silvery clearness, winning, yet still more commanding. The words uttered in those tones floated a while above us, then took root in the memory like winged seed.

In the union of an even rustic plainness with lyric inspirations, religious dignity with philosophic calmness, keen sagacity in details with boldness of view, we saw what brought to mind the early poets and legislators of Greece--men who taught their fellows to plough and avoid moral evil, sing hymns to the gods, and watch the metamorphoses of nature. Here in civic Boston was such a man--one who could see man in his original grandeur and his original childishness, rooted in simple nature, raising to the heavens the brow and eyes of a poet.

And these lectures seemed not so much lectures as grave didactic poems, theogonies, perhaps, adorned by odes when some power was in question whom the poet had best learned to serve, and with eclogues wisely portraying in familiar tongue the duties of man to man and "harmless animals."

Such was the attitude in which the speaker appeared to that portion of the audience who have remained permanently attached to him. They value his words as the signets of reality; receive his influence as a help and incentive to a nobler discipline than the age, in its general aspect, appears to require; and do not fear to anticipate the verdict of posterity in claiming for him the honors of greatness, and, in some respects, of a master.

In New England Mr. Emerson thus formed for himself a class of readers who rejoice to study in his books what they already know by heart. For, though the thought has become familiar, its beautiful garb is always fresh and bright in hue.

A similar circle of "like-minded" persons the books must and do form for themselves, though with a movement less directly powerful, as more distant from its source.

The Essays have also been obnoxious to many charges; to that of obscurity, or want of perfect articulation; of "euphuism," as an excess of fancy in proportion to imagination; and an inclination, at times, to subtlety at the expense of strength, have been styled. The human heart complains of inadequacy, either in the nature or experience of the writer, to represent its full vocation and its deeper needs. Sometimes it speaks of this want as "under development," or a want of expansion which may yet be remedied; sometimes doubts whether "in this mansion there be either hall or portal to receive the loftier of the passions." Sometimes the soul is deified at the expense of nature, then again nature at that of man; and we are not quite sure that we can make a true harmony by balance of the statements. This writer has never written one good work, if such a work be one where the whole commands more attention than the parts, or if such a one be produced only where, after an accumulation of materials, fire enough be applied to fuse the whole into one new substance. This second series is superior in this respect to the former; yet in no one essay is the main stress so obvious as to produce on the mind the harmonious effect of a noble river or a tree in full leaf. Single passages and sentences engage our attention too much in proportion. These Essays, it has been justly said, tire like a string of mosaics or a house built of medals. We miss what we expect in the work of the great poet, or the great philosopher--the liberal air of all the zones; the glow, uniform yet various in tint, which is given to a body by free circulation of the heart's blood from the hour of birth. Here is, undoubtedly, the man of ideas; but we want the ideal man also--want the heart and genius of human life to interpret it; and here our satisfaction is not so perfect. We doubt this friend raised himself too early to the perpendicular, and did not lie along the ground long enough to hear the secret whispers of our parent life. We could wish he might be thrown by conflicts on the lap of mother earth, to see if he would not rise again with added powers.

All this we may say, but it cannot excuse us from benefiting by the great gifts that have been given, and assigning them their due place.

Some painters paint on a red ground. And this color may be supposed to represent the groundwork most immediately congenial to most men, as it is the color of blood, and represents human vitality. The figures traced upon it are instinct with life in its fulness and depth.

But other painters paint on a gold ground. And a very different, but no less natural, because also a celestial beauty, is given to their works who choose for their foundation the color of the sunbeam, which Nature has preferred for her most precious product, and that which will best bear the test of purification--gold.

If another simile may be allowed, another no less apt is at hand. Wine is the most brilliant and intense expression of the powers of earth. It is her potable fire, her answer to the sun. It exhilarates, it inspires, but then it is liable to fever and intoxicate, too, the careless partaker.

Mead was the chosen drink of the northern gods. And this essence of the honey of the mountain bee was not thought unworthy to revive the souls of the valiant who had left their bodies on the fields of strife below.

Nectar should combine the virtues of the ruby wine, the golden mead, without their defects or dangers.

Two high claims on the attention of his contemporaries our writer can vindicate. One from his sincerity. You have his thought just as it found place in the life of his own soul. Thus, however near or relatively distant its approximation to absolute truth, its action on you cannot fail to be healthful. It is a part of the free air.

Emerson belongs to that band of whom there may be found a few in every age, and who now in known human history may be counted by hundreds, who worship the one God only, the God of Truth. They worship, not saints, nor creeds, nor churches, nor reliques, nor idols in any form. The mind is kept open to truth, and life only valued as a tendency towards it. This must be illustrated by acts and words of love, purity and intelligence. Such are the salt of the earth; let the minutest crystal of that salt be willingly by us held in solution.

The other claim is derived from that part of his life, which, if sometimes obstructed or chilled by the critical intellect, is yet the prevalent and the main source of his power. It is that by which he imprisons his hearer only to free him again as a "liberating God," (to use his own words.) But, indeed, let us use them altogether, for none other, ancient or modern, can more worthily express how, making present to us the courses and destinies of nature, he invests himself with her serenity and animates us with her joy.

"Poetry was all written before time was; and whenever we are so finely organized that we can penetrate into that region where the air is music, we hear those primal warblings, and attempt to write them down, but we lose ever and anon a word or a verse, and substitute something of our own, and thus miswrite the poem. The men of more delicate ear write down these cadences more faithfully, and these transcripts, though imperfect, become the songs of the nations."

Thus have we, in a brief and unworthy manner, indicated some views of these books. The only true criticism of these or any good books may be gained by making them the companions of our lives. Does every accession of knowledge or a juster sense of beauty make us prize them more? Then they are good, indeed, and more immortal than mortal. Let that test be applied to these Essays which will lead to great and complete poems--somewhere.

CAPITAL PUNISHMENT.[27]

We have had this book before us for several weeks, but the task of reading it has been so repulsive that we have been obliged to get through it by short stages, with long intervals of rest and refreshment between, and have only just reached the end. We believe, however, we are now possessed of its substance, so far as it is possible to admit into any mind matter wholly uncongenial with its structure, its faith, and its hope.

Meanwhile others have shown themselves more energetic in the task, and notices have appeared that express, in part, our own views. Among others an able critic has thus summed up his impressions:--

"Of the whole we will say briefly, that its premises are monstrous, its reasoning sophistical, its conclusions absurd, and its spirit diabolic."

We know not that we can find a better scheme of arrangement for what we have to say than by dividing it into sections under these four heads:--

1st. The premises are monstrous. Here we must add the qualification, they are monstrous _to us_. The God of these writers is not the God we recognize; the views they have of human nature are antipodal to ours. We believe in a Creative Spirit, the essense of whose being is Love. He has created men in the spirit of love, intending to develop them to perfect harmony with himself. He has permitted the temporary existence of evil as a condition necessary to bring out in them free agency and individuality of character. Punishment is the necessary result of a bad choice in them; it is not meant by him as vengeance, but as an admonition to choose better. Man is not born totally evil; he is born capable both of good and evil, and the Holy Spirit in working on him only quickens the soul already there to know its Father. To one who takes such views the address of Jesus becomes intelligible--"Be ye therefore merciful, as your Father also is merciful." "For with the same measure that ye mete withal, it shall be measured to you again."

Those who take these views of the relation between God and man must naturally tend to have punishment consist as much as possible in the inward spiritual results of faults, rather than a violent outward enforcement of penalty. They must, so far as possible, seek to revere God by showing themselves brotherly to man; and if they wish to obey Christ, will not forget that he came especially to call _sinners_ to repentance.

The views of these writers are the opposite of all this. We need not state them; they are sufficiently indicated in each page of their own. Their conclusions are the natural result of such premises. We could say nothing about either, except to express dissent from beginning to end. Yet would it be sweet and noble, and worthy of this late period of human progress, if their position had been stated in a spirit of religious, of manly courtesy; if they had had the soul to say, "We differ from you, but we know that so wide and full a stream of thought and emotion as you are moved by could not, under the providential rule in which we believe, have arisen in vain. The object of every such manifestation of life must be to bring out truth; come, let us seek it together. Let us show you our view, compare it with yours, and let us see which is the better. If, as we think, the truth lie with us, what joy will it be for us to cast the clear light on the object of your aspirations!"

Of this degree of liberality we have known some, even, who served the same creed as these writers to be capable. There is, indeed, a higher spirit, which, believing all forms of opinion which we hold in the present stage of our growth can be but approximations to truth, and that God has permitted to the multitude of men a multitude of ways by which they may approach one common goal, looks with reverence on all modes of faith sincerely held and acted upon, and while it rejoices in those souls which have reached the higher stages of spiritual growth, has no despair as to those which still grope in a narrow path and by a glimmering light. Such liberality is, of course, out of the question with such writers as the present. Their faith binds them to believe that they have absolute truth, and that all who do not believe as they do are wretched heretics. Those whose creed is of narrower scope are to them hateful bigots; but also those with whom it is of wider are latitudinarians or infidels. The spot of earth on which they stand is the only one safe from the conflagration, and only through spectacles and spyglasses such as are used by them can the sun and stars be seen. Yet, as we said before, some such, though incapacitated for an intellectual, are not so for a spiritual tolerance. With them the heart, more Christ-like than the creed, urges to a spirit of love and reverence even towards convictions opposed to their own. The sincere man is always respectable in their eyes, and they cannot help feeling that, wherever there is a desire for truth, there is the spirit of God, and his true priests will approach with gentleness, and do their ministry with holy care. Unhappily, it is very different with the persons before us.

We let go the first two counts of the indictment. Their premises are, as we have said, such as we totally dissent from, and their conclusions such as naturally flow from those premises. Yet they are those of a large body of men, and there must, no doubt, be temporary good in this state of things, or it would not be permitted. When these writers say, that to them moral and penal are coincident terms, they display a state of mind which prefers basing virtue on the fear of punishment, rather than the love of right. If this be sincerely their state, if the idea of morality is with them entirely dependent on the retributions upon vice, rather than the loveliness and joys of goodness, it is impossible for those who are in a different state of mind to say what they _do_ need. It may seem to us, indeed, that, if the strait jacket was taken off, they might recover the natural energy of their frames, and do far better without it; or that, if no longer hurried along the road by the impending lash behind, they might uplift their eyes, and find sufficient cause for speed in the glory visible before, though at a distance; however, it is not for us to say what their wants are. Let them choose their own principles of action, and if they lead to purity of life, and benevolence, and humanity of heart, we will not say a word against them.

But in the instance before us, they do not produce these good fruits, but the contrary; and therefore we have something to say on the other part of the criticism, to wit: that "the reasoning is sophistical, and the spirit diabolic;" for, indeed, in the sense of pride by which the angels fell, arrogance of judgment, malice, and all uncharitableness, we have never looked on printed pages more deeply sinful. We love an honest lover; but next best, we, with Dr. Johnson, know how to respect an honest hater. But even he would scarce endure so bitter and ardent haters as these, and with so many and inconsistent objects of hatred--who hate Catholics and thorough Protestants, hate materialists, and hate spiritualists. Their list is really too large for _human_ sympathy.

We wish, however, to make all due allowance for incapacity in these writers to do better; and their disqualifications for their task, apart from a form of belief which inclines them rather to cling to the past, than to seek progress for the future, seem to be many.

The "reasoning is sophistical," and it would need the patience of a Socrates to unravel the weary web, and convince these sophists, against their will, that they are exactly in the opposite region to what they suppose. For the task we have not space, skill, or patience; but we can give some hints by which readers may be led to examine whether it is so or not.

These writers profess to occupy the position of defence; surely never was one sustained so in the spirit of offence.

1st. They appeal either to the natural or regenerate man, as suits their purpose. Sometimes all traditions and their literal interpretations are right; sometimes it is impossible to interpret them aright, unless according to some peculiar doctrine, and the natural inference of the common mind would be an error.

2d. They strain, but vainly, to show the New Testament no improvement on the Old, and themselves in harmonious relations to both. On this subject we would confidently leave the arbitration to a mind--could such a one be found--sufficiently disciplined to examine the subject, and new both to the New Testament and this volume, as that of Rammohun Roy might have been, whether its views are not of the same strain that Jesus sought to correct and enlighten among the Jews, and whether the writers do not treat the teachings of the new dispensation most unfairly, in their desire to wrest them into the service of the old.

3d. Wherever there is a weak place in the argument, it is filled up by abuse of the opposite party. The words "absurd," "infidel," "blasphemous," "shallow philosophy," "sickly sentimentalism," and the like, are among the favorite missiles of these _defenders_ of the truth. They are of a sort whose frequent use is generally supposed to argue the want of a shield of reason and a heart of faith.

And this brings us to a more close consideration of the spirit of this book, characterized by our contemporary as "diabolic." And we, also, cannot excuse ourselves from marking it as, in this respect, one of the worst books we have ever seen.

It is not merely bitter intolerance, arrogance, and want of spiritual perception, which we have to condemn in these writers. It is a want of fairness and honor, of which we think they must be conscious. We fear they are of those who hold the opinion that the end sanctifies the means, and who, by pretending to serve the God of truth by other means than strict truth, have drawn upon the "ministers of religion" the frequent obloquy of "priestcraft." How else are we to construe the artful use of the words "dishonest" and "infidel," wherever they are likely to awaken the fears and prejudices of the ignorant?

Of as bad a stamp as any is the part of this book headed "Spurious Public Opinion." Here, as in the insinuations against Charles Burleigh, we are unable to believe the writers to be sincere. Where we think they are, however poor and narrow we may esteem their statement, we can respect it, but here we cannot.

Who can believe that such passages as the following stand for any thing real in the mind of the writer?

"Indeed, there is nothing that can possibly check the spirit of murder, but the fear of death. That was all that Cain feared; he did not say, People will put me in prison, but, They will put me to death; _and how many other murders he may have committed, when released from that fear, the sacred writer does not tell us_!"

Why does not the writer of this passage draw the inference, and accuse God of mistake, as he says his opponents accuse Him, whenever they attempt to get beyond the Jewish ideas of vengeance. He plainly thinks death was the only safe penalty in this case of Cain.

"The reasoning from these drivellings of depravity in malefactors is to the last degree wretched and absurd. Hard pushed indeed must he be in argument who can consent to dive down into the polluted heart of a Newgate criminal, in order to fish up, from the confessions of his monstrous, unnatural obduracy, an argument in that very obduracy against the fit punishment of his own crimes."

We can only wish for such a man, that the vicissitudes of life may break through the crust of theological arrogance and Phariseeism, and force him to "dive down" into the depths of his own nature. We should see afterwards whether he would be so forward to throw stones at malefactors, so eager to hurry souls to what he regards as a final account.

But we have said enough as to the spirit and tendency of this book. We shall only add a few words as to the unworthy use of the word "infidel," in the attempt to fix a stigma upon opponents. We feel still more contempt than indignation at the desire to work in this way on the unthinking and ignorant.

We ourselves are of the number stigmatized by these persons as sharing an infidel tendency, as are all not enlisted under their own sectarian banner. They, on their side, seem to us unbelievers in all that is most pure and holy, and in the saving grace of love. They do not believe in God, as we believe; they seem to us utterly deficient in the spirit of Christ, and to be of the number of those who are always calling, "Lord, Lord," yet never have known him. We find throughout these pages the temper of "Lord, I thank thee that I am not as other men are"--hatred of those whom they deem Gentiles, and a merciless spirit towards the sinner; yet we do not take upon ourselves to give them the name of infidels, and we solemnly call them to trial before the bar of the Only Wise and Pure, the Searcher of hearts, to render an account of this daring assumption. We ask them in that presence, if they are not of the class threatened with "retribution" for saying to their brother, "Thou fool;" and that not merely in the heat of anger, but coolly, pertinaciously, and in a thousand ways.

We call to sit in council the spirits of our Puritan fathers, and ask if such was the right of individual judgment, of private conscience, they came here to vindicate. And we solicit the verdict of posterity as to whether the spirit of mercy or of vengeance be the more divine, and whether the denunciatory and personal mode chosen by these writers for carrying on this inquiry be the true one.

We wish most sincerely this book had been a wise and noble one. To ascertain just principles, it is necessary that the discussion should be full and fair, and both sides ably argued. After this has been done, the sense of the world can decide. It would be a happiness for which it might seem that man at this time of day is ripe, that the opposing parties should meet in open lists as brothers, believing each that the other desired only that the truth should triumph, and able to clasp hands as men of different structure and ways of thinking, but fellow-students of the divine will. O, had we but found such an adversary, above the use of artful abuse, or the feints of sophistry, able to believe in the noble intention, of a foe as of a friend, how cheerily would the trumpets ring out while the assembled world echoed the signal words, "GOD SPEED THE RIGHT!" The tide of progress rolls onward, swelling more and more with the lives of those who would fain see all men called to repentance. It must be a strong arm, indeed, that can build a dam to stay it even for a moment. None such do we see yet; but we should rejoice in a noble and strong opponent, putting forth all his power for conscience's sake. God speed the Right!