Chapter 2

dignity! what tenderness! And will she be as tender to the living as to the erring one whom she believes dead? My heart stops when I ask myself. Yes, I know she will. The Blessed Virgin whispers me that she will, and I fly to greet her! A month, two months, three months, four months?--It is an age.

"Monsieur! I cannot wait. I must take ship--sail--wings (if I could find them), and go to meet my child. Until I do there is a tempest in my brain--heart--everywhere. You are surprised, Monsieur, but there is another reason why I should go to this land where Adèle has lived. Do you wish to know it? Listen, then, Monsieur!

"Do you know who this poor sufferer was whom our child had learned so to love, who died in her arms, who sleeps in the graveyard there, and of whom Adèle thinks as of a mother? I have inquired, I have searched high and low, I have fathomed all. Ah, my poor, good sister Marie! Only Marie! You have never known her. In those other days at dear Arles she was too good for you to know her. Yet even then she was a guardian angel,--a guardian too late. _Mea culpa! Mea culpa!_

"I know it can be only Marie; I know it can be only she, who sleeps under the sod in Ash----(_ce nom m'échappe_).

"Listen again: in those early, bitter charming days, when you, Monsieur, knew the hillsides and the drives about our dear old town of Arles, poor Marie was away; had she been there, I had never listened, as I did listen, to the words you whispered in my ear. Only when it was too late, she came. Poor, good Marie! how she pleaded with me! How her tender, good face spoke reproaches to me! If I was the pride of our household, she was the angel. She it was, who, knowing the worst, said, 'Julie, this must end!' She it was who labored day and night to set me free from the wicked web that bound me. I reproached her, the poor, good Marie, in saying that she was the plainer, that she had no beauty, that she was devoured with envy. But the Blessed Virgin was working ever by her side. Whatever doubts you may have entertained of me, Monsieur,--she created them; whatever suspicions tortured you,--she fed them, but always with the holiest of motives. And when shame came, as it did come, the poor Marie would have screened me,--would have carried the odium herself. Good Marie! the angels have her in keeping!

"Listen again, Monsieur! When that story, that false story, of the death of my poor child, came to light in the journals, who but Marie should come to me--deceived herself as I was deceived--and say, 'Julie, dear one, God has taken the child in mercy; there is no stigma can rest upon you in the eyes of the world. Live now as the Blessed Magdalen lived when Christ had befriended her.' And by her strength I was made strong; the Blessed Virgin be thanked!

"Finally, it came to her knowledge one day,--the dear Marie!--that the rumor of the death was untrue,--that the babe was living,--that the poor child had been sent over the seas to your home, Monsieur. Well, I was far away in the East. Does Marie tell me? No, the dear one! She writes me, that she is going 'over seas,'--tired of _la belle France_,--she who loved it so dearly! And she went,--to watch, to pray, to console. And I, the mother!--_Mon Dieu, Monsieur_, the words fail me. No wonder our child loved her; no wonder she seems a mother to her!

"Listen yet again, Monsieur. My poor sister died yonder, in that heretical land,--may be without absolution.

'Ave Martha margarita In corona Jesu sita, Tam in morte quam in vita Sis nobis propitia!'

I must go, if it be only to find her grave, and to secure her burial in some consecrated spot. She waits for me,--her ghost, her spirit,--I must go; the holy water must be sprinkled; the priestly rites be said. Marie, poor Marie, I will not fail you.

"Monsieur, I must go!--not alone to greet our child, but to do justice to my sainted sister! Listen well! All that has been devotional in my poor life centres here! I must go,--I must do what I may to hallow my poor sister's grave. Adèle will not give up her welcome surely, if I am moved by such religious purpose. She, too, must join me in an _Ave Maria_ over that resting-place of the departed.

"I shall send this letter by the overland and British mail, that it may come to you very swiftly. It will come to you while you are with the poor child,--our Adèle. Greet her for me as warmly as you can. Tell her I shall hope, God willing, to bring her into the bosom of his Holy Church Catholic. I shall try and love her, though she remain a heretic; but this will not be.

"If I can enough curb myself, I shall wait for your answer, Monsieur; but it is necessary that I go yonder. Look for me; kiss our child for me. And if you ever prayed, Monsieur, I should say, pray for

"_Votre amie_,

"JULIE."

The letter is of the nature of a revelation to Adèle; her doubts respecting Madame Arles vanish on the instant. The truth, as set forth in her mother's language, blazes upon her mind like a flame. She loves the grave none the less, but the mother by far the more. She, too, wishes to greet her amid the scenes which she has known so long. Nor is Maverick himself averse to this new disposition of affairs, if indeed he possessed any power (which he somewhat doubts) of readjusting it. Seeing the kindly intentions toward Adèle, and the tolerant feeling (to say the least) with which Mrs. Maverick will be met by these friends of the daughter, he trusts that the mother's interviews with the Doctor, and a knowledge of the kindly influences under which Adèle has grown up, may lessen the danger of a religious altercation between mother and child, which has been his great bugbear in view of their future association.

A man of the world, like Maverick, naturally takes this common-sense view of religious differences; why not compound matters, he thinks; and he hints as much quietly to the parson. The old gentleman's spirit is stirred to its depths by the intimation; like all earnest zealots, he recognizes one only unswerving rule of faith, and that the faith in which he has been reared. They who hold conflicting doctrines must yield,--yield absolutely,--or there is no safety for them. In his eye there was but one strait gate to the Celestial City, and that any wearing the furbelows of Rome should ever enter thereat could only come of God's exceeding mercy; for himself, it must always be a duty to cry aloud to such to strip themselves clean of their mummery, and do works "meet for repentance."

Adèle, after her first period of exultation over the recent news is passed, relapses--perhaps by reason of its excess--into something of her old vague doubt and apprehension of coming evil. The truth--if it be truth--is so strange!--so mysteriously strange that she shall indeed clasp her mother to her heart; the grave yonder is so real! and that fearful embrace in death so present to her! Or it may be an anticipation of the fearful spiritual estrangement that must ensue, and of which she seems to find confirmation in the earnest talk and gloomy forebodings of the Doctor.

Maverick effects a diversion by proposing a jaunt of travel, in which Rose shall be their companion. Adèle accepts the scheme with delight,--a delight, after all, which lies as much in the thought of watching the eager enjoyment of Rose as in any pleasant distractions of her own. The pleasure of Maverick is by no means so great as in that trip of a few years back. Then he had for companion an enthusiastic girl, to whom life was fresh, and all the clouds that seemed to rest upon it so shadowy, that each morning sun lifting among the mountains dispersed them utterly.

Now, Adèle showed the thoughtfulness of a woman,--her enthusiasms held in check by a more calm estimate of the life that opened before her,--her sportiveness overborne by a soberness, which, if it gave dignity, gave also a womanly gravity. Yet she did not lack filial devotion; she admired still that easy world-manner of his which had once called out her enthusiastic regard, but now queried in her secret heart if its acquisition had not involved cost of purity of conscience. She loved him too,--yes, she loved him; and her evening and morning kiss and embrace were reminders to him of a joy he might have won, but had not,--of a home peace that might have been his, but whose image now only lifted above his horizon like some splendid mirage crowded with floating fairy shapes, and like the mirage melted presently into idle vapor.

It was a novel experience for Maverick to find himself (as he did time and again upon this summer trip in New England) sandwiched, of a Sunday, between his two blooming companions and some sober-sided deacon, in the pew of a country meeting-house. How his friend Papiol would have stared! And the suggestion, coming to him with the buzz of a summer fly through the open windows, did not add to his devotional sentiment. Yet Maverick would follow gravely the scramble of the singers through the appointed hymn with a sober self-denial, counting the self-denial a virtue. We all make memoranda of the small religious virtues when the large ones are missing.

Upon the return to Ashfield there is found a new letter from Madam Maverick. She can restrain herself no longer. Under the advices of her brother, she will, with her maid, take the first safe ship leaving Marseilles for New York. She longs to bring Adèle with herself, by special consecration, under the guardianship of the Holy Virgin.

The Doctor is greatly grieved in view of the speedy departure of Adèle, and tenfold grieved when Maverick lays before him the letter of the mother, and he sees the fiery zeal which the poor child must confront.

Over and over in those last interviews he seeks to fortify her faith; he warns her against the delusions, the falsities, the idolatries of Rome; he warns her to distrust a religion of creeds, of human authority, of traditions. Christ, the Bible,--these are the true monitors; and "Mind, Adaly," says he, "hold fast always to the Doctrine of the Westminster Divines. That is sound,--that is sound!"

LXII.

Reuben went with a light heart upon his voyage. The tender memories of Ashfield were mostly lived down. (Had the letter of Adèle ever reached him, it might have been far different.) Rose, Phil, the Tourtelots, the Tew partners (still worrying through a green old age), the meeting-house, even the Doctor himself and Adèle, seemed to belong to a sphere whose interests were widely separate from his own, and in which he should appear henceforth only as a casual spectator. The fascinations of his brilliant business successes had a firm grip upon him. He indulges himself, indeed, from time to time, with the fancy that some day, far off now, he will return to the scenes of his boyhood, and astonish some of the old landholders by buying them out at a fabulous price, and by erecting a "castle" of his own, to be enlivened by the fairy graces of some sylph not yet fairly determined upon. Surely not Rose, who would hardly be equal to the grandeur of his proposed establishment, if she were not already engrossed by that "noodle" (his thought expressing itself thus wrathfully) of an assistant minister. Adèle,--and the name has something in it that electrifies, in spite of himself,--Adèle, if she ever overcomes her qualms of conscience, will yield to the tender persuasions of Phil. "Good luck to him!"--and he says this, too, with a kind of wrathful glee.

Still, he builds his cloud castles; some one must needs inhabit them. Some paragon of refinement and of beauty will one day appear, for whose tripping feet his wealth will lay down a path of pearls and gold. The lonely, star-lit nights at sea encourage such phantasms; and the break of the waves upon the bow, with their myriad of phosphorescent sparkles, cheats and illumines the fancy. We will not follow him throughout his voyage. On a balmy morning of July he wakes with the great cliff of Gibraltar frowning on him. After this come light, baffling winds, and for a week he looks southward upon the mysterious, violet lift of the Barbary shores, and pushes slowly eastward into the blue expanse of the Mediterranean. In the Sicilian ports he is abundantly successful. He has ample time to cross over to Naples, to ascend Vesuvius, and to explore Herculaneum and Pompeii. But he does not forget the other side of the beautiful bay, Baiæ and Pozzuoli. He takes, indeed, a healthful pleasure in writing to the Doctor a description of this latter, and of his walk in the vicinity of the great seaport where St. Paul must have landed from his ship of the Castor and Pollux, on his way from Syracuse. But he does not tell the Doctor that, on the same evening, he attended an opera at the San Carlo in Naples, of which the ballet, if nothing else, would have called down the good man's anathema.

An American of twenty-five, placed for the first time upon the sunny pavements of Naples, takes a new lease of life,--at least of its imaginative part. The beautiful blue stretch of sea, the lava streets, the buried towns and cities, the baths and ruins of Baiæ, the burning mountain, piling its smoke and fire into the serene sky, the memories of Tiberius, of Cicero, of Virgil,--all these enchant him. And beside these are the things of to-day,--the luscious melons, the oranges, the figs, the war-ships lying on the bay, the bloody miracle of St. Januarius, the Lazzaroni upon the church steps, the processions of friars, and always the window of his chamber, looking one way upon blue Capri, and the other upon smouldering Vesuvius.

At Naples Reuben hears from the captain of the Meteor--in which good ship he has made his voyage, and counts upon making his return--that the vessel can take up half her cargo at a better freight by touching at Marseilles. Whereupon Reuben orders him to go thither, promising to join him at that port in a fortnight. A fortnight only for Rome, for Florence, for Pisa, for the City of Palaces, and then the marvellous Cornice road along the shores of the sea. Terracina brought back to him the story of Mr. Alderman Popkins and the Principessa, and the bandits; after this came the heights of Albano and Soracte, and there, at last, the Tiber, the pyramid tomb, the great church dome, the stone pines of the Janiculan hill,--Rome itself. Reuben was not strong or curious in his classics; the galleries and the churches took a deeper hold upon him than the Forum and the ruins. He wandered for hours together under the arches of St. Peter's. He wished he might have led the Doctor along its pavement into the very presence of the mysteries of the Scarlet Woman of Babylon. He wished Miss Almira, with her saffron ribbons, might be there, sniffing at her little vial of salts, and may be singing treble. The very meeting-house upon the green, that was so held in reverence, with its belfry and spire atop, would hardly make a scaffolding from which to brush the cobwebs from the frieze below the vaulting of this grandest of temples. Oddly enough, he fancies Deacon Tourtelot, in his snuff-colored surtout, pacing down the nave with him, and saying,--as he would be like to say,--"Must ha' been a smart man that built it; but I guess they don't have better preachin', as a gineral thing, than the old Doctor gives us on Fast-Days or in 'protracted' meetin's."

Such queer humors and droll comparisons flash into the mind of Reuben, even under all his sense of awe,--a swift, disorderly mingling of the themes and offices which kindled his first sense of religious awe under a home atmosphere with the wondrous forms and splendor which kindle a new awe now. The great dome enwalling with glittering mosaics a heaven of its own, and blazing with figured saints, and the golden distich, "Thou art Peter,--to thee will I give the keys of the kingdom of heaven,"--all this seems too grand to be untrue. Are not the keys verily here? Can falsehood build up so august a lie? A couple of friars shuffle past him, and go to their prayers at some near altar; he does not even smile at their shaven pates and their dowdy, coarse gowns of serge. Low music from some far-away chapel comes floating under the panelled vaultings, and loses itself under the great dome, with a sound so gentle, so full of entreaty, that it seems to him the dove on the high altar might have made it with a cooing and a flutter of her white wings. A mother and two daughters, in black, glide past him, and drop upon their knees before some saintly shrine, and murmur their thanksgivings, or their entreaty. And he, with no aim of worship, yet somehow shocked out of his unbelief by the very material influences around him.

Reuben's old wranglings and struggles with doubt had ended--where so many are apt to end, when the world is sunny and success weaves its silken meshes for the disport of self--in a quiet disbelief that angered him no longer, because he had given over all fight with it. But the great dome, flaming with its letters, _Ædificabo meam Ecclesiam_, shining there for ages, kindled the fight anew. And strange as it may seem, and perplexing as it was to the Doctor (when he received Reuben's story of it), he came out from his first visit to the great Romish temple with his religious nature more deeply stirred than it had been for years.

_Ædificabo meam Ecclesiam._ _HE_ had uttered it. There was then something to build,--something that had been built, at whose shrine millions worshipped trustingly.

Under the sombre vaultings of the great Florentine Cathedral, the impression was not weakened. The austere gloom of it chimed more nearly with his state of unrest. Then there are the galleries, the painted ceilings,--angels, saints, martyrs, holy families,--can art have been leashed through so many ages with a pleasant fiction? Is there not somewhere at bottom an earnest, vital truth, which men must needs cling by if they be healthful and earnest themselves? Even the meretricious adornments of the churches of Genoa afford new evidence of the way in which the heart of a people has lavished itself upon belief; and if belief, why, then, hope.

Upon the Cornice road, with Italy behind him and home before (such home as he knows), he thinks once more of those he has left. Not that he has forgotten them altogether; he has purchased a rich coral necklace in Naples, which will be the very thing for his old friend Rose; and, in Rome, the richest cameos to be found in the Via Condotti he has secured for Adèle; even for Aunt Eliza he has brought away from Florence a bit of the _pietra dura_, a few olive-leaves upon a black ground. Nor has he forgotten a rich piece of the Genoese velvet for Mrs. Brindlock; and, for his father, an old missal, which, he trusts, dates back far enough to save it from the odium he attaches to the present Church, and to give it an early Christian sanctity. He has counted upon seeing Mr. Maverick at Marseilles, but learns, with surprise, upon his arrival there, that this gentleman had sailed for America some months previously. The ship is making a capital freight, and the captain informs him that application has been made for the only vacant state-room in their little cabin by a lady attended by her maid. Reuben assents cheerfully to this accession of companionship; and, running off for a sight of the ruins at Nismes and Arles, returns only in time to catch the ship upon the day of its departure. As they pass out of harbor, the lady passenger, in deep black, (the face seems half familiar to him,) watches wistfully the receding shores, and, as they run abreast the chapel of Nôtre Dame de la Garde, she devoutly crosses herself and tells her beads.

Reuben is to make the voyage with the mother of Adèle. Both bound to the same quiet township of New England; he, to reach Ashfield once more, there to undergo swiftly a new experience,--an experience that can come to no man but once; she, to be clasped in the arms of Adèle,--a cold embrace and the last!

PASSAGES FROM HAWTHORNE'S NOTE-BOOKS.

V.

Brook Farm, _Sept. 26, 1841._--A walk this morning along the Needham road. A clear, breezy morning, after nearly a week of cloudy and showery weather. The grass is much more fresh and vivid than it was last month, and trees still retain much of their verdure, though here and there is a shrub or a bough arrayed in scarlet and gold. Along the road, in the midst of a beaten track, I saw mushrooms or toadstools, which had sprung up probably during the night.

The houses in this vicinity are, many of them, quite antique, with long, sloping roofs, commencing at a few feet from the ground, and ending in a lofty peak. Some of them have huge, old elms overshadowing the yard. One may see the family sleigh near the door, it having stood there all through the summer sunshine, and perhaps with weeds sprouting through the crevices of its bottom, the growth of the months since snow departed. Old barns, patched and supported by timbers leaning against the sides, and stained with the excrement of past ages.

In the forenoon, I walked along the edge of the meadow, towards Cow Island. Large trees, almost a wood, principally of pine with the green pasture-glades intermixed, and cattle feeding. They cease grazing when an intruder appears, and look at him with long and wary observation, then bend their heads to the pasture again. Where the firm ground of the pasture ceases, the meadow begins,--loose, spongy, yielding to the tread, sometimes permitting the foot to sink into black mud, or perhaps over ankles in water. Cattle paths, somewhat firmer than the general surface, traverse the dense shrubbery which has overgrown the meadow. This shrubbery consists of small birch, elders, maples, and other trees, with here and there white pines of larger growth. The whole is tangled and wild and thick-set, so that it is necessary to part the nestling stems and branches, and go crashing through. There are creeping plants of various sorts, which clamber up the trees, and some of them have changed color in the slight frosts which already have befallen these low grounds, so that one sees a spiral wreath of scarlet leaves twining up to the top of a green tree, intermingling its bright hues with their verdure, as if all were of one piece. Sometimes, instead of scarlet, the spiral wreath is of a golden yellow.

Within the verge of the meadow, mostly near the firm shore of pasture ground, I found several grape-vines, hung with an abundance of large purple grapes. The vines had caught hold of maples and alders, and climbed to the summit, curling round about and interwreathing their twisted folds in so intimate a manner that it was not easy to tell the parasite from the supporting tree or shrub. Sometimes the same vine had enveloped several shrubs, and caused a strange, tangled confusion, converting all these poor plants to the purpose of its own support, and hindering their growing to their own benefit and convenience. The broad vine-leaves, some of them yellow or yellowish-tinged, were seen apparently glowing on the same stems with the silver-maple leaves, and those of the other shrubs, thus married against their will by the conjugal twine; and the purple clusters of grapes hung down from above and in the midst, so that one might "gather grapes," if not "of thorns," yet of as alien bushes.

One vine had ascended almost to the tip of a large white pine, spreading its leaves, and hanging its purple clusters among all its boughs,--still climbing and clambering, as if it would not be content till it had crowned the very summit with a wreath of its own foliage and bunches of grapes. I mounted high into the tree and ate the fruit there, while the vine wreathed still higher into the depths above my head. The grapes were sour, being not yet fully ripe. Some of them, however, were sweet and pleasant.

* * * * *

_September 27._--A ride to Brighton yesterday morning, it being the day of the weekly Cattle Fair. William Allen and myself went in a wagon, carrying a calf to be sold at the fair. The calf had not had his breakfast, as his mother had preceded him to Brighton, and he kept expressing his hunger and discomfort by loud, sonorous baas, especially when we passed any cattle in the fields or in the road. The cows, grazing within hearing, expressed great interest, and some of them came galloping to the roadside to behold the calf. Little children, also, on their way to school, stopped to laugh and point at poor little Bossie. He was a prettily behaved urchin, and kept thrusting his hairy muzzle between William and myself, apparently wishing to be stroked and patted. It was an ugly thought that his confidence in human nature, and nature in general, was to be so ill-rewarded as by cutting his throat, and selling him in quarters. This, I suppose, has been his fate before now!

It was a beautiful morning, clear as crystal, with an invigorating, but not disagreeable coolness. The general aspect of the country was as green as summer,--greener indeed than mid or latter summer,--and there were occasional interminglings of the brilliant hues of autumn, which made the scenery more beautiful, both visibly and in sentiment. We saw no absolutely mean nor poor-looking abodes along the road. There were warm and comfortable farm-houses, ancient, with the porch, the sloping roof, the antique peak, the clustered chimney, of old times; and modern cottages, smart and tasteful; and villas, with terraces before them, and dense shade, and wooden urns on pillars, and other such tokens of gentility. Pleasant groves of oak and walnut, also, there were, sometimes stretching along valleys, sometimes ascending a hill and clothing it all round, so as to make it a great clump of verdure. Frequently we passed people with cows, oxen, sheep, or pigs for Brighton Fair.

On arriving at Brighton, we found the village thronged with people, horses, and vehicles. Probably there is no place in New England where the character of an agricultural population may be so well studied. Almost all the farmers within a reasonable distance make it a point, I suppose, to attend Brighton Fair pretty frequently, if not on business, yet as amateurs. Then there are all the cattle-people and butchers who supply the Boston market, and dealers from far and near; and every man who has a cow or a yoke of oxen, whether to sell or buy, goes to Brighton on Monday. There were a thousand or two of cattle in the extensive pens belonging to the tavern-keeper, besides many that were standing about. One could hardly stir a step without running upon the horns of one dilemma or another, in the shape of ox, cow, bull, or ram. The yeomen appeared to be more in their element than I have ever seen them anywhere else, except, indeed, at labor;--more so than at musterings and such gatherings of amusement. And yet this was a sort of festal day, as well as a day of business. Most of the people were of a bulky make, with much bone and muscle, and some good store of fat, as if they had lived on flesh-diet;--with mottled faces too, hard and red, like those of persons who adhered to the old fashion of spirit-drinking. Great, round-paunched country squires were there too, sitting under the porch of the tavern, or waddling about, whip in hand, discussing the points of the cattle. There were also gentlemen-farmers, neatly, trimly, and fashionably dressed, in handsome surtouts and trousers, strapped under their boots. Yeomen, too, in their black or blue Sunday suits, cut by country tailors, and awkwardly worn. Others (like myself) had on the blue, stuff frocks which they wear in the fields, the most comfortable garments that ever were invented. Country loafers were among the throng,--men who looked wistfully at the liquors in the bar, and waited for some friend to invite them to drink,--poor, shabby, out-at-elbowed devils. Also, dandies from the city, corseted and buckramed, who had come to see the humors of Brighton Fair. All these, and other varieties of mankind, either thronged the spacious bar-room of the hotel, drinking, smoking, talking, bargaining, or walked about among the cattle-pens, looking with knowing eyes at the horned people. The owners of the cattle stood near at hand, waiting for offers. There was something indescribable in their aspect, that showed them to be the owners, though they mixed among the crowd. The cattle, brought from a hundred separate farms, or rather from a thousand, seemed to agree very well together, not quarrelling in the least. They almost all had a history, no doubt, if they could but have told it. The cows had each given her milk to support families,--had roamed the pastures, and come home to the barn-yard,--had been looked upon as a sort of member of the domestic circle, and was known by a name, as Brindle or Cherry. The oxen, with their necks bent by the heavy yoke, had toiled in the plough-field and in haying-time for many years, and knew their master's stall as well as the master himself knew his own table. Even the young steers and the little calves had something of domestic sacredness about them; for children had watched their growth, and petted them, and played with them. And here they all were, old and young, gathered from their thousand homes to Brighton Fair; whence the great chance was that they would go to the slaughter-house, and thence be transmitted, in sirloins, joints, and such pieces, to the tables of the Boston folk.

William Allen had come to buy four little pigs to take the places of four who have now grown large at our farm, and are to be fatted and killed within a few weeks. There were several hundreds, in pens appropriated to their use, grunting discordantly, and apparently in no very good humor with their companions or the world at large. Most or many of these pigs had been imported from the State of New York. The drovers set out with a large number, and peddle them along the road till they arrive at Brighton with the remainder. William selected four, and bought them at five cents per pound. These poor little porkers were forthwith seized by the tails, their legs tied, and then thrown into our wagon, where they kept up a continual grunt and squeal till we got home. Two of them were yellowish, or light gold-color, the other two were black and white, speckled; and all four of very piggish aspect and deportment. One of them snapped at William's finger most spitefully, and bit it to the bone.

All the scene of the Fair was very characteristic and peculiar,--cheerful and lively, too, in the bright, warm sun. I must see it again; for it ought to be studied.

* * * * *

_September 28._--A picnic party in the woods, yesterday, in honor of little Frank Dana's birthday, he being six years old. I strolled out, after dinner, with Mr. Bradford, and in a lonesome glade we met the apparition of an Indian chief, dressed in appropriate costume of blanket, feathers, and paint, and armed with a musket. Almost at the same time, a young gypsy fortune-teller came from among the trees, and proposed to tell my fortune. While she was doing this, the goddess Diana let fly an arrow, and hit me smartly in the hand. The fortune-teller and goddess were in fine contrast, Diana being a blonde, fair, quiet, with a moderate composure; and the gypsy (O. G.) a bright, vivacious, dark-haired, rich-complexioned damsel,--both of them very pretty, at least pretty enough to make fifteen years enchanting. Accompanied by these denizens of the wild wood, we went onward, and came to a company of fantastic figures, arranged in a ring for a dance or a game. There was a Swiss girl, an Indian squaw, a negro of the Jim Crow order, one or two foresters, and several people in Christian attire, besides children of all ages. Then followed childish games, in which the grown people took part with mirth enough,--while I, whose nature it is to be a mere spectator both of sport and serious business, lay under the trees and looked on. Meanwhile, Mr. Emerson and Miss Fuller, who arrived an hour or two before, came forth into the little glade where we were assembled. Here followed much talk. The ceremonies of the day concluded with a cold collation of cakes and fruit. All was pleasant enough,--an excellent piece of work,--"would 't were done!" It has left a fantastic impression on my memory, this intermingling of wild and fabulous characters with real and homely ones, in the secluded nook of the woods. I remember them, with the sunlight breaking through overshadowing branches, and they appearing and disappearing confusedly,--perhaps starting out of the earth; as if the everyday laws of Nature were suspended for this particular occasion. There were the children, too, laughing and sporting about, as if they were at home among such strange shapes,--and anon bursting into loud uproar of lamentation, when the rude gambols of the merry archers chanced to overturn them. And apart, with a shrewd, Yankee observation of the scene, stands our friend Orange, a thick-set, sturdy figure, enjoying the fun well enough, yet rather laughing with a perception of its nonsensicalness than at all entering into the spirit of the thing.

This morning I have been helping to gather apples. The principal farm labors at this time are ploughing for winter rye, and breaking up the greensward for next year's crop of potatoes, gathering squashes, and not much else, except such year-round employments as milking. The crop of rye, to be sure, is in process of being thrashed, at odd intervals.

I ought to have mentioned among the diverse and incongruous growths of the picnic party our two Spanish boys from Manilla;--Lucas, with his heavy features and almost mulatto complexion; and José, slighter, with rather a feminine face,--not a gay, girlish one, but grave, reserved, eying you sometimes with an earnest but secret expression, and causing you to question what sort of person he is.

* * * * *

_Friday, October 1._--I have been looking at our four swine,--not of the last lot, but those in process of fattening. They lie among the clean rye straw in the sty, nestling close together; for they seem to be beasts sensitive to the cold, and this is a clear, bright, crystal morning, with a cool, northwest wind. So there lie these four black swine, as deep among the straw as they can burrow, the very symbols of slothful ease and sensuous comfort. They seem to be actually oppressed and overburdened with comfort. They are quick to notice any one's approach, and utter a low grunt thereupon,--not drawing a breath for that particular purpose, but grunting with their ordinary breath,--at the same time turning an observant, though dull and sluggish, eye upon the visitor. They seem to be involved and buried in their own corporeal substance, and to look dimly forth at the outer world. They breathe not easily, and yet not with difficulty nor discomfort; for the very unreadiness and oppression with which their breath comes appears to make them sensible of the deep sensual satisfaction which they feel. Swill, the remnant of their last meal, remains in the trough, denoting that their food is more abundant than even a hog can demand. Anon, they fall asleep, drawing short and heavy breaths, which heave their huge sides up and down; but at the slightest noise they sluggishly unclose their eyes, and give another gentle grunt. They also grunt among themselves, without any external cause; but merely to express their swinish sympathy. I suppose it is the knowledge that these four grunters are doomed to die within two or three weeks that gives them a sort of awfulness in my conception. It makes me contrast their present gross substance of fleshly life with the nothingness speedily to come. Meantime the four newly-bought pigs are running about the cow-yard, lean, active, shrewd, investigating everything, as their nature is. When I throw an apple among them, they scramble with one another for the prize, and the successful one scampers away to eat it at leisure. They thrust their snouts into the mud, and pick a grain of corn out of the rubbish. Nothing within their sphere do they leave unexamined, grunting all the time with infinite variety of expression. Their language is the most copious of that of any quadruped, and, indeed, there is something deeply and indefinably interesting in the swinish race. They appear the more a mystery the longer one gazes at them. It seems as if there were an important meaning to them, if one could but find it out. One interesting trait in them is their perfect independence of character. They care not for man, and will not adapt themselves to his notions, as other beasts do; but are true to themselves, and act out their hoggish nature.

* * * * *

_October 7._--Since Saturday last, (it being now Thursday,) I have been in Boston and Salem, and there has been a violent storm and rain during the whole time. This morning shone as bright as if it meant to make up for all the dismalness of the past days. Our brook, which in the summer was no longer a running stream, but stood in pools along its pebbly course, is now full from one grassy verge to the other, and hurries along with a murmuring rush. It will continue to swell, I suppose, and in the winter and spring it will flood all the broad meadows through which it flows.

I have taken a long walk this forenoon along the Needham road, and across the bridge, thence pursuing a cross-road through the woods, parallel with the river, which I crossed again at Dedham. Most of the road lay through a growth of young oaks principally. They still retain their verdure, though, looking closely in among them, one perceives the broken sunshine falling on a few sere or bright-hued tufts of shrubbery. In low, marshy spots, on the verge of the meadows or along the river-side, there is a much more marked autumnal change. Whole ranges of bushes are there painted with many variegated hues, not of the brightest tint, but of a sober cheerfulness. I suppose this is owing more to the late rains than to the frost; for a heavy rain changes the foliage somewhat at this season. The first marked frost was seen last Saturday morning. Soon after sunrise it lay, white as snow, over all the grass, and on the tops of the fences, and in the yard, on the heap of firewood. On Sunday, I think, there was a fall of snow, which, however, did not lie on the ground a moment.

There is no season when such pleasant and sunny spots may be lighted on, and produce so pleasant an effect on the feelings, as now in October. The sunshine is peculiarly genial; and in sheltered places, as on the side of a bank, or of a barn or house, one becomes acquainted and friendly with the sunshine. It seems to be of a kindly and homely nature. And the green grass, strewn with a few withered leaves, looks the more green and beautiful for them. In summer or spring Nature is farther from one's sympathies.

* * * * *

_October 8._--Another gloomy day, lowering with portents of rain close at hand. I have walked up into the pastures this morning, and looked about me a little. The woods present a very diversified appearance just now, with perhaps more varieties of tint than they are destined to wear at a somewhat later period. There are some strong yellow hues, and some deep red; there are innumerable shades of green, some few having the depth of summer; others, partially changed towards yellow, look freshly verdant with the delicate tinge of early summer or of May. Then there is the solemn and dark green of the pines. The effect is, that every tree in the wood and every bush among the shrubbery has a separate existence, since, confusedly intermingled, each wears its peculiar color, instead of being lost in the universal emerald of summer. And yet there is a oneness of effect likewise, when we choose to look at a whole sweep of woodland instead of analyzing its component trees. Scattered over the pasture, which the late rains have kept tolerably green, there are spots or islands of dusky red,--a deep, substantial hue, very well fit to be close to the ground,--while the yellow, and light, fantastic shades of green soar upward to the sky. These red spots are the blueberry and whortleberry bushes. The sweet-fern is changed mostly to russet, but still retains its wild and delightful fragrance when pressed in the hand. Wild China-asters are scattered about, but beginning to wither. A little while ago, mushrooms or toadstools were very numerous along the wood-paths and by the roadsides, especially after rain. Some were of spotless white, some yellow, and some scarlet. They are always mysteries and objects of interest to me, springing as they do so suddenly from no root or seed, and growing one wonders why. I think, too, that some varieties are pretty objects, little fairy tables, centre-tables, standing on one leg. But their growth appears to be checked now, and they are of a brown tint and decayed.

The farm business to-day is to dig potatoes. I worked a little at it. The process is to grasp all the stems of a hill and pull them up. A great many of the potatoes are thus pulled, clinging to the stems and to one another in curious shapes,--long red things, and little round ones, imbedded in the earth which clings to the roots. These being plucked off, the rest of the potatoes are dug out of the hill with a hoe, the tops being flung into a heap for the cow-yard. On my way home I paused to inspect the squash-field. Some of the squashes lay in heaps as they were gathered, presenting much variety of shape and hue,--as golden yellow, like great lumps of gold, dark green, striped and variegated; and some were round, and some lay curling their long necks, nestling, as it were, and seeming as if they had life.

In my walk yesterday forenoon I passed an old house which seemed to be quite deserted. It was a two-story, wooden house, dark and weather-beaten. The front windows, some of them, were shattered and open, and others were boarded up. Trees and shrubbery were growing neglected, so as quite to block up the lower part. There was an aged barn near at hand, so ruinous that it had been necessary to prop it up. There were two old carts, both of which had lost a wheel. Everything was in keeping. At first I supposed that there would be no inhabitants in such a dilapidated place; but, passing on, I looked back, and saw a decrepit and infirm old man at the angle of the house, its fit occupant. The grass, however, was very green and beautiful around this dwelling, and, the sunshine falling brightly on it, the whole effect was cheerful and pleasant. It seemed as if the world was so glad that this desolate old place, where there was never to be any more hope and happiness, could not at all lessen the general effect of joy.

I found a small turtle by the roadside, where he had crept to warm himself in the genial sunshine. He had a sable back, and underneath his shell was yellow, and at the edges bright scarlet. His head, tail, and claws were striped yellow, black, and red. He withdrew himself, as far as he possibly could, into his shell, and absolutely refused to peep out, even when I put him into the water. Finally, I threw him into a deep pool and left him. These mailed gentlemen, from the size of a foot or more down to an inch, were very numerous in the spring; and now the smaller kind appear again.

* * * * *

_Saturday, October 9._--Still dismal weather. Our household, being composed in great measure of children and young people, is generally a cheerful one enough, even in gloomy weather. For a week past we have been especially gladdened with a little seamstress from Boston, about seventeen years old; but of such a _petite_ figure, that, at first view, one would take her to be hardly in her teens. She is very vivacious and smart, laughing and singing and talking all the time,--talking sensibly; but still, taking the view of matters that a city girl naturally would. If she were larger than she is, and of less pleasing aspect, I think she might be intolerable; but being so small, and with a fair skin, and as healthy as a wildflower, she is really very agreeable; and to look at her face is like being shone upon by a ray of the sun. She never walks, but bounds and dances along, and this motion, in her diminutive person, does not give the idea of violence. It is like a bird, hopping from twig to twig, and chirping merrily all the time. Sometimes she is rather vulgar, but even that works well enough into her character, and accords with it. On continued observation, one discovers that she is not a little girl, but really a little woman, with all the prerogatives and liabilities of a woman. This gives a new aspect to her, while the girlish impression still remains, and is strangely combined with the sense that this frolicsome maiden has the material for the sober bearing of a wife. She romps with the boys, runs races with them in the yard, and up and down the stairs, and is heard scolding laughingly at their rough play. She asks William Allen to place her "on top of that horse," whereupon he puts his large brown hands about her waist, and, swinging her to and fro, lifts her on horseback. William threatens to rivet two horse-shoes round her neck, for having clambered, with the other girls and boys, upon a load of hay, whereby the said load lost its balance and slid off the cart. She strings the seed-berries of roses together, making a scarlet necklace of them, which she fastens about her throat. She gathers flowers of everlasting to wear in her bonnet, arranging them with the skill of a dressmaker. In the evening, she sits singing by the hour, with the musical part of the establishment, often breaking into laughter, whereto she is incited by the tricks of the boys. The last thing one hears of her, she is tripping up stairs to bed, talking lightsomely or warbling; and one meets her in the morning, the very image of bright morn itself, smiling briskly at you, so that one takes her for a promise of cheerfulness through the day. Be it said, with all the rest, that there is a perfect maiden modesty in her deportment. She has just gone away, and the last I saw of her was her vivacious face peeping through the curtain of the cariole, and nodding a gay farewell to the family, who were shouting their adieux at the door. With her other merits, she is an excellent daughter, and supports her mother by the labor of her hands. It would be difficult to conceive beforehand how much can be added to the enjoyment of a household by mere sunniness of temper and liveliness of disposition; for her intellect is very ordinary, and she never says anything worth hearing, or even laughing at, in itself. But she herself is an expression well worth studying.

THE FENIAN "IDEA."

It was a great truth Shelley uttered when he said that slavery would not be the enormous wrong and evil which it is, if men who had long suffered under it could rise at once to freedom and self-government. We see this fact everywhere proved by races, nations, sexes, long held in bondage, and, when at last set free, displaying for years, perhaps for generations, the vices of cowardice, deceit, and cruelty engendered by slavery. Chains leave ugly scars on the flesh, but deeper scars by far on the soul. Even where the exercise of oppression has stopped short of actual serfdom,--where a race has been merely excluded from some natural rights, and burdened with some unrighteous restrictions,--the same result, in a mitigated degree, may be traced in moral degradation, surviving the injustice itself and almost its very memory. Ages pass away, and "Revenge and Wrong" still "bring forth their kind." The evil is not dead, though they who wrought it have long mouldered in their forgotten graves.

In a very remarkable manner this sad law of our nature applies to the condition of the Irish race. Doubtless the isolated position of Ireland, the small share it has had in the life and movement of our century, has allowed the old wrongs to fester in memory, and the old feelings of rancor to perpetuate themselves, as they could never have done in a country more in the highway of nations. Vendettas personal and political are ever to be found in islands, like Corsica, Sicily, Ireland; or in remote glens and mountains, such as those of Scotland or Greece. Men who live in New York, London, or Paris must be singularly retentive of passion to keep up even their own hatreds, not to speak of the hatreds of their ancestors. But it is alike the bane and blessing of lives spent in retirement and monotony to retain impressions for years, and live in the past almost more vividly than in the tame and uninteresting present. Ireland, at all events, has had nothing to divert her from her old traditions; and there is probably no man, woman, or child of Celtic race living in the country in whose mind a certain "historical element," compounded strangely of truth and falsehood, does not occupy a place such as no analogous impression takes in the thought of an ordinary Englishman or Frenchman. We shall endeavor in this paper to give a little idea of the nature of these Irish traditions and feelings; and if we succeed in doing so, we shall at the same time afford to our readers a clew to some of the supposed mysteries of the recent outbreak of Fenianism. In sober truth, Fenianism is not, to Anglo-Irish observers, a startling apparition, an outburst of insane folly, an epidemic of national hate, but, on the contrary, a most familiar phenomenon, the mere appearance on the surface of what we always knew lay beneath,--an endemic as natural to the soil as the ague and fever which haunt the undrained bogs. Those who understand what Irishmen are always _thinking_ will find no difficulty in understanding also what things they occasionally _do_.

The real wrongs inflicted by England upon Ireland are probably as bad as ever disgraced the history of a conquest--in itself without excuse. Not to speak of confiscations, and executions often taking the form of murderous raids into suspected districts, there were laws passed one after another, from the time of Edward I. even to the present century, a collection of which would be a sad commentary on the boasted justice of English Parliaments. Irishmen lay under disabilities, political, social, and ecclesiastical, so severe and numerous that it really seems to have been a question what they were expected to do _except_ to break some of these arbitrary laws, and so incur some cruel penalty. Down to our own century, and for the avowed purpose of injuring the only flourishing trade of the country (that of linen), the English cotton and woollen manufacturers procured the passing of acts better called destructive than protective; and in sober truth, if England now deplores the low industrial and commercial state of Ireland, she has only to look over her own statute-book, and see if ingenuity could have further gone in the way of discouragement and depression. When we add to these wrongs the bitter drop of the Irish Church Establishment, it is doubtless clear that an able advocate could make out a very telling case for the plaintiff, in that great case of Ireland _vs._ England on which Europe and America sit as jury.

But it is a singularly inexact notion of the real historical wrongs of his country which an ordinary Irishman treasures in his heart; in fact, he has no idea of the real wrongs at all, but of other and quite imaginary ones. He sets out with the great fallacy that Ireland was at some indefinite epoch (described as "former times") a wealthy, prosperous, and united country, and that every declension from those characteristics is to be laid at the door of English tyranny and jealousy. When Moore wrote,

"Let Erin remember the days of old, Ere her faithless sons betrayed her, When Malachi wore the collar of gold Which he won from her proud invader,

"When her kings, with their standards of green unfurled, Led the Red Branch knights to danger, Ere the emerald gem of the Western world Was set in the crown of a stranger,"--

when, we say, a man of the world, who afterwards wrote a remarkably moderate and sensible History of Ireland, wrote nonsense like this, he was doubtless well aware he was only by poetic license describing what Irishmen commonly believed about "days of old," and their glorified circumstances. We once saw an Irish schoolmaster, just one of those who mould the ideas of the humbler classes, shown into a room furnished with the usual luxury of a handsome English drawing-room,--books, pictures, flowers, and china, "an earthly paradise of ormolu." The good man looked round with great admiration, and then innocently remarked, "Why, this must be like one of the palaces of our ancient kings!" Here was precisely the popular Irish idea. Her "ancient king"--who actually lived in the _wattled_ walls of Tara, enjoying barbarian feasts of beer and hecatombs of lean kine and sheep--is supposed to have been a refined and splendid prince, dwelling in ideal "halls," (doubtless compounded out of the Dublin Bank and Rotunda,) and enjoying the finest music on a double-action harp. As a fact, there is no evidence whatever that the old Irish Pentarchy was much better than any five chieftainships of the Sandwich Islands. Even the historians who laud it in most pompous phrases, like Keatinge, give nothing but details of wars and massacres, disorders and rebellions without end. Out of one hundred and sixty-eight kings who by this (of course) half-fabulous story reigned from the Milesian Conquest to Roderick O'Connor, vanquished by Henry II. in 1172, no less than seventy-nine are said to have acquired the throne by the murder of their predecessors. The contests between the five kings for the supremacy, or for the acquisition of each other's territories, offer a spectacle which can only be compared to a sanguinary game of puss-in-the-corner lasting for a thousand years. As to any monuments of civilization, it would indeed be wonderful if they were found in a country so circumstanced. Such existing architecture as can be attributed to a Celtic origin is confined to the simple round towers, Cormac's Chapel at Cashel, and a few humble little stone-roofed edifices like the one known as "St. Kevin's Kitchen," and made, with true Irish magniloquence, to stand wellnigh alone for the "Seven Churches of Glendalough." For literature, ancient Ireland can show the respectable "Annals of the Four Masters," and a few minor chronicles in prose and verse, but not a single work deserving a place in European history. Literally the fame of a few nomad saints, and a collection of torques and brooches (of great beauty, but possible Byzantine workmanship) in the Irish Academy, are the chief grounds on which rest the claims of Ireland to ancient civilization. Yet not merely civilization, but the extreme grandeur and magnificence of Ireland in "former times," is the first postulate of all Irish discontent. It is because England has dimmed her glory and overthrown her royal state that Irishmen burn with patriot indignation, and not by any means because she has merely left barbarism and disunion still barbarous and disunited after seven centuries, and has checked, instead of encouraging, the industry and commerce of the land.

Proceeding on this false ground, the Celtic Irishman, with his fervid imagination, easily builds for himself a whole edifice of local and personal grievances on the pattern of the supposed national one. Was Ireland once a rich and splendid country? So was every town and neighborhood once full of gayety and prosperity, when "the family" lived at home and did not travel or spend the season in London. Full of extravagant reverence for birth and rank, it is always, in the Irishman's mind, not _his_ fault, nor that of his compeers of the working and middle classes, that trade and agriculture do not flourish in the land; but the fault of some lord or squire who ought to come and spend money there, or some king or queen who should hold court in Dublin and waste as much treasure as possible upon state ceremonials. Nay, every man for himself, almost, has at the bottom of his heart a belief that _he_ ought to be, not a laborer or carter, shoemaker or tailor, but the head of some ancient house,--some O' or Mac,--living not in his own mud cabin, but in the handsome residence of some English gentleman whose estate was wrongfully taken in "former times" from his--the laborer's or shoemaker's--ancestors.

Fenians talk of an Irish Republic, and the brave and honest men who led the rising of '98 undoubtedly heartily desired to establish one on the American model. But to any one really acquainted with Irish character, to dream of such institutions for ages to come seems utterly vain. All the qualities which go to make a republican, in the true sense of the term, are wanting in the Irish nature; and, on the other hand, there is a superabundance of all the opposite qualities which go to make a loyal subject of a king,--not _too_ despotic, but still a strong-handed, visible, audible, tangible ruler of men. Devotion to an idea, to a constitution, to a flag; respect for law _as_ law; sturdy independence and self-reliance; regard for others' rights and jealousy of a man's own,--all these true republican characteristics are most rarely to be found in Irishmen. Nay, the most important of all--the reverence for law--is almost, we might say, reversed in his nature. The true Irishman detests law. He loves, indeed, mercy, retribution, many fine things which law may or may not produce. But the simple fact that a certain proceeding has been by proper authorities constituted a law or rule of any kind, in public matters or private, is reason enough, in high or low, to make it secretly distasteful. As Coleridge used to say, that, "when anything was presented to him as a duty, he instantly felt himself seized by a sense of inability to perform it," so, to the Celtic mind, when anything comes in the guise of a law, there is an accompanying seizure of moral paralysis. Even if the law or rule be made by the offender himself, it is all the same. Having given it utterance, it is a law, and he hates it accordingly. On the other hand, nothing can exceed the generous, chivalrous personal and family loyalty of the Irish nature. But it is a person he wants, not a constitution or a flag.

Of course, how far all these characteristics may be altered by residence in America we are unable to say. We write of the Irishman in Ireland, from lifelong acquaintance. What dreams the Fenians in America may indulge, we are also in no position to know. But this we may safely aver: The Irishmen in Ireland who are caught by such schemes of rebellion and revolution are not, as might be thought, mere vulgar agitators, eager for notoriety or perhaps plunder. They are (such of them as are the dupes, not the dupers) men whose minds from childhood have been filled with anti-historic visions of Ireland's former grandeur, and who cherish patriotic indignation for her supposed wrongs, and patriotic hopes of her future glory. In a word, they live in a world of unrealities almost inconceivable to a cool Saxon brain,--unreal splendors of the past and utterly unreal and impossible future hopes. They neither see where England has actually wronged Ireland heretofore, nor how her Constitution opens to them now (were they but once united) the lawful means of obtaining all just redress and beneficial legislation they can desire. Instead of this, they are still talking of Tara and Kincora, of Ollamh Fodhla and Brien Boiromhe, and dream in the year of grace 1866 to set England at naught with a few thousand undisciplined troops, and then burn down the hundred or two of handsome houses and banish all the cultivated men and women in the country (even including the priests!), to inaugurate a grand era of universal prosperity and civilization.

But however delusive the indignation and the hopes of the Fenians must be accounted, the sad fact remains that old misgovernment and oppression have left behind a train of evil feelings, whose existence is only too real, however fantastic may be the shapes they assume. While three or four centuries sufficed to obliterate all trace of the Norman Conquest, and unite in indissoluble bonds of blood and language the two races who contended for mastery at Hastings, in Ireland, on the contrary, seven centuries have failed, not merely to efface, but even essentially to diminish the sharpness of the distinction between the conquerors and the conquered. Still, to this day, the two nations dwell in the same land, but not united. Still each member of each race learns as his first lesson to which of the two he belongs, and recognizes, by some occult, but well-known tokens, the race and creed of every man with whom he has dealings. Religious differences, of course, have come in to swell the tide of mistrust, and to nullify the most strenuous efforts of the Anglo-Irish to gain the confidence of the Celts. In the books circulated in the baskets of the strolling pedlers, which constitute almost the sole literature of the laboring class, we have constantly seen the favorite tract entitled "A Father's Advice to his Son," in which the Catholic peasant is warned to put no faith in the desire of his Protestant neighbor to help him, and advised, _not_, indeed, to refuse his charity, but to return for it no gratitude, since a Protestant can have no real feeling for a Catholic. We have heard with our own ears O'Connell say almost the same thing in Conciliation Hall, and tell his hearers that English subscriptions at the time of the famine were given from _fear_, not kindness. But even were all these false teachers silenced, were the enormous insult of the Irish Establishment retracted to-morrow, even then the root of national bitterness would not be killed. It would take generations to kill it.

Between fifty and a hundred years ago the Anglo-Irish gentry, as all the world knows, were a wild and extravagant race. Duelling and drinking were the two great duties of a gentleman. A young man was instructed how to "make his head" early in life, and to acquire the gentle art of pistolling his friends, when now he would be studying Greek under Professor Jowett, or "coaching" for a civil-service examination. It was in bad taste in those halcyon days for a man to leave a pleasant social party in a state of sobriety, and he was liable to be challenged by his aggrieved companions if he did it frequently. The custom of locking the dining-room door and putting the key in the fire, so as to secure a comfortable night (on the floor), was so common as hardly to deserve notice; and in many old houses are still preserved the huge glasses bearing the toast of the Immortal Memory of William III., and calculated to hold three bottles of claret, all to be drunk at once by one member of the company, who then won the prize of a seven-guinea piece deposited at the bottom. Gambling was not a pastime, but a business; and a business shared by the ladies. On rainy days it was customary to lay the card-tables at ten o'clock in the morning, and on all days the work began immediately after the four-o'clock dinner. Of all field-sports hunting was the favorite; and, of course, horses and hounds helped to run away with estates as well as cards and claret. Great pomp, however, of a certain semi-barbaric kind was the crowning extravagance. Everybody drove four horses,--the loftier grandees invariably six,--with due accompaniment of outriders and running footmen. Dresses, jewels, and lace were of course in keeping with the equipage, albeit the furniture of the finest houses was what we should deem a strange mixture of magnificence and bareness,--beautiful pictures on the walls, and no curtains to the windows,--tapestry _fauteuils_, and a small square of carpet in the midst of a Sahara of plain deal floor. But the kitchen was the true scene of that Wilful Waste which assuredly brought Woful Want often enough in its train. Every gentleman's house served as a sort of free tavern for tenants, servants, laborers, and the relatives, friends, and acquaintances of tenants, servants, and laborers without end. Up stairs there was endless dinner-giving and claret-drinking; down stairs there was breakfasting, dining, and supping,--only substituting beef for venison and whiskey for claret. One famous countess, coming into an estate of twenty thousand a year, with a reserve of one hundred thousand pounds, spent the whole, and left a debt of another hundred thousand, after Garter-King-at-Arms had been summoned from England to see her in state to her mausoleum as a descendant of the Plantagenets. An earl in the North, of no great wealth, was carried to his grave by a procession of five thousand people, all of whom were entertained, and three thousand clothed in mourning, for the occasion. But there is no need to go further into such traditions.

Were _these_, then, the people who earned the hoarded hate of the Fenian? Was it this coarse and stupid extravagance, contrasted with the abject penury of the peasantry, (far greater then than now,) which has left such indelible, bitter memories? Very far indeed is this from being the case. That age of lavish waste is looked back upon universally in Ireland as one of those "former times" which are to be forever contrasted with the present,--an age of gold compared to an age of iron. True, the old landlords were harder on their tenants than any _dare_ now to be;--true, they neither improved land, nor built cottages, nor endowed schools, nor did one earthly thing to help the wretched and starving people in the face of whose misery they flaunted their splendor. But there was little or no bitterness of feeling toward them; for their faults were those with which the people sympathized, and their free-handed hospitality would have covered more sins even than they committed. Perhaps one of the very reasons why, in these last years, the never wholly quieted ground-swell of discontent has risen up in Fenianism is this, that the whole generation of which we have spoken has now utterly died out, and, since the Encumbered Estates Courts has done its work, the families of landholders have undergone great changes, and, where not changed in race, have wholly changed in habits and mode of life. "Castle Rackrent" exists no more. Irish landlords have now neither power nor inclination to hold free quarters for all comers. On the other hand, (we speak it advisedly,) no class of men in Europe strive more earnestly and self-denyingly to improve the condition of those dependent on them, to build good houses for their tenants, open schools for the children, and drain and fertilize the land. Let us hope that, as years roll on, and generations pass, the tradition of imaginary wrongs, and the unseen but too real results of actual ones, will both pass away, and there may yet come a day in which it will not seem a satire to speak of the land of the Fenian and the _Agrarian_ murderer as "The Isle of Saints."

THE CHIMNEY-CORNER FOR 1866.

V.

WHAT ARE THE SOURCES OF BEAUTY IN DRESS.

The conversation on dress which I had held with Jennie and her little covey of Birds of Paradise appeared to have worked in the minds of the fair council, for it was not long before they invaded my study again in a body. They were going out to a party, but called for Jennie, and of course gave me and Mrs. Crowfield the privilege of seeing them equipped for conquest.

Latterly, I must confess, the mysteries of the toilet rites have impressed me with a kind of superstitious awe. Only a year ago my daughter Jennie had smooth dark hair, which she wreathed in various soft, flowing lines about her face, and confined in a classical knot on the back of her head. Jennie had rather a talent for _coiffure_, and the arrangement of her hair was one of my little artistic delights. She always had something there,--a leaf, a spray, a bud or blossom, that looked fresh, and had a sort of poetical grace of its own.

But in a gradual way all this has been changing. Jennie's hair first became slightly wavy, then curly, finally frizzy, presenting a tumbled and twisted appearance, which gave me great inward concern; but when I spoke upon the subject I was always laughingly silenced with the definitive settling remark: "O, it's the fashion, papa! Everybody wears it so."

I particularly objected to the change on my own small account, because the smooth, breakfast-table _coiffure_, which I had always so much enjoyed, was now often exchanged for a peculiarly bristling appearance; the hair being variously twisted, tortured, woven, and wound, without the least view to immediate beauty or grace. But all this, I was informed, was the necessary means towards crimping for some evening display of a more elaborate nature than usual.

Mrs. Crowfield and myself are not party-goers by profession, but Jennie insists on our going out at least once or twice in a season, just, as she says, to keep up with the progress of society; and at these times I have been struck with frequent surprise by the general untidiness which appeared to have come over the heads of all my female friends. I know, of course, that I am only a poor, ignorant, bewildered man-creature; but to my uninitiated eyes they looked as if they had all, after a very restless and perturbed sleep, come out of bed without smoothing their tumbled and disordered locks. Then, every young lady, without exception, seemed to have one kind of hair, and that the kind which was rather suggestive of the term _woolly_. Every sort of wild _abandon_ of frowzy locks seemed to be in vogue; in some cases the hair appearing to my vision nothing but a confused snarl, in which glittered tinklers, spangles, and bits of tinsel, and from which waved long pennants and streamers of different-colored ribbons.

I was in fact very greatly embarrassed by my first meeting with some very charming girls, whom I thought I knew as familiarly as my own daughter Jennie, and whose soft, pretty hair had often formed the object of my admiration. Now, however, they revealed themselves to me in _coiffures_ which forcibly reminded me of the electrical experiments which used to entertain us in college, when the subject stood on the insulated stool, and each particular hair of his head bristled and rose, and set up, as it were, on its own account. This high-flying condition of the tresses, and the singularity of the ornaments which appeared to be thrown at hap-hazard into them, suggested so oddly the idea of a bewitched person, that I could scarcely converse with any presence of mind, or realize that these really were the nice, well-informed, sensible little girls of my own neighborhood,--the good daughters, good sisters, Sunday-school teachers, and other familiar members of our best educated circles; and I came away from the party in a sort of blue maze, and hardly in a state to conduct myself with credit in the examination through which I knew Jennie would put me as to the appearance of her different friends.

I know not how it is, but the glamour of fashion in the eyes of girlhood is so complete, that the oddest, wildest, most uncouth devices find grace and favor in the eyes of even well-bred girls, when once that invisible, ineffable _aura_ has breathed over them which declares them to be fashionable. They may defy them for a time,--they may pronounce them horrid; but it is with a secretly melting heart, and with a mental reservation to look as nearly like the abhorred spectacle as they possibly can on the first favorable opportunity.

On the occasion of the visit referred to, Jennie ushered her three friends in triumph into my study; and, in truth, the little room seemed to be perfectly transformed by their brightness. My honest, nice, lovable little Yankee-fireside girls were, to be sure, got up in a style that would have done credit to Madame Pompadour, or any of the most questionable characters of the time of Louis XIV. or XV. They were frizzled and powdered, and built up in elaborate devices; they wore on their hair flowers, gems, streamers, tinklers, humming-birds, butterflies, South American beetles, beads, bugles, and all imaginable rattle-traps, which jingled and clinked with every motion; and yet, as they were three or four fresh, handsome, intelligent, bright-eyed girls, there was no denying the fact that they _did look extremely pretty_; and as they sailed hither and thither before me, and gazed down upon me in the saucy might of their rosy girlhood, there was a gay defiance in Jennie's demand, "Now, papa, how do you like us?"

"Very charming," answered I, surrendering at discretion.

"I told you, girls, that you could convert him to the fashions, if he should once see you in party trim."

"I beg pardon, my dear; I am not converted to the fashion, but to you, and that is a point on which I didn't need conversion; but the present fashions, even so fairly represented as I see them, I humbly confess I dislike."

"O Mr. Crowfield!"

"Yes, my dears, I do. But then, I protest, I'm not fairly treated. I think, for a young American girl, who looks as most of my fair friends do look, to come down with her bright eyes and all her little panoply of graces upon an old fellow like me, and expect him to like a fashion merely because _she_ looks well in it, is all sheer nonsense. Why, girls, if you wore rings in your noses, and bangles on your arms up to your elbows, if you tied your hair in a war-knot on the top of your heads like the Sioux Indians, you would look pretty still. The question isn't, as I view it, whether you look pretty,--for that you do and that you will, do what you please and dress how you will. The question is whether you might not look prettier, whether another style of dress, and another mode of getting up, would not be far more becoming. I am one who thinks that it would."

"Now, Mr. Crowfield, you positively are too bad," said Humming-Bird,--whose delicate head was encircled by a sort of crapy cloud of bright hair, sparkling with gold-dust and spangles, in the midst of which, just over her forehead, a gorgeous blue butterfly was perched, while a confused mixture of hairs, gold-powder, spangles, stars, and tinkling ornaments fell in a sort of cataract down her pretty neck. "You see, we girls think everything of you; and now we don't like it that you don't like our fashions."

"Why, my little princess, so long as I like _you_ better than your fashions, and merely think they are not worthy of you, what's the harm?"

"O yes, to be sure. You sweeten the dose to us babies with that sugar-plum. But really, Mr. Crowfield, why don't you like the fashions?"

"Because, to my view, they are in great part in false taste, and injure the beauty of the girls," said I. "They are inappropriate to their characters, and make them look like a kind and class of women whom they do not, and I trust never will, resemble internally, and whose mark therefore they ought not to bear externally. But there you are, beguiling me into a sermon which you will only hate me in your hearts for preaching. Go along, children! You certainly look as well as anybody can in that style of getting up; so go to your party, and to-morrow night, when you are tired and sleepy, if you'll come with your crochet, and sit in my study, I will read you Christopher Crowfield's dissertation on dress."

"That will be amusing, to say the least," said Humming-Bird; "and, be sure, we will all be here. And mind, you have to show good reasons for disliking the present fashion."

So the next evening there was a worsted party in my study, sitting in the midst of which I read as follows.

"WHAT ARE THE SOURCES OF BEAUTY IN DRESS.

"The first one is _appropriateness_. Colors and forms and modes, in themselves graceful or beautiful, can become ungraceful and ridiculous simply through inappropriateness. The most lovely bonnet that the most approved _modiste_ can invent, if worn on the head of a coarse-faced Irishwoman bearing a market-basket on her arm, excites no emotion but that of the ludicrous. The most elegant and brilliant evening dress, if worn in the daytime in a railroad car, strikes every one with a sense of absurdity; whereas both these objects in appropriate associations would excite only the idea of beauty. So, a mode of dress obviously intended for driving strikes us as _outré_ in a parlor; and a parlor dress would no less shock our eyes on horseback. In short, the course of this principle through all varieties of form can easily be perceived. Besides appropriateness to time, place, and circumstances, there is appropriateness to age, position, and character. This is the foundation of all our ideas of professional propriety in costume. One would not like to see a clergyman in his external air and appointments resembling a gentleman of the turf; one would not wish a refined and modest scholar to wear the outward air of a fast fellow, or an aged and venerable statesman to appear with all the peculiarities of a young dandy. The flowers, feathers, and furbelows which a light-hearted young girl of seventeen embellishes by the airy grace with which she wears them, are simply ridiculous when transferred to the toilet of her serious, well-meaning mamma, who bears them about with an anxious face, merely because a loquacious milliner has assured her, with many protestations, that it is the fashion, and the only thing remaining for her to do.

"There are, again, modes of dress in themselves very beautiful and very striking, which are peculiarly adapted to theatrical representation and to pictures, but the adoption of which as a part of unprofessional toilet produces a sense of incongruity. A mode of dress may be in perfect taste on the stage, that would be absurd in an evening party, absurd in the street, absurd, in short, everywhere else.

"Now you come to my first objection to our present American toilet,--its being to a very great extent _inappropriate_ to our climate, to our habits of life and thought, and to the whole structure of ideas on which our life is built. What we want, apparently, is some court of inquiry and adaptation that shall pass judgment on the fashions of other countries, and modify them to make them a graceful expression of our own national character, and modes of thinking and living. A certain class of women in Paris at this present hour makes the fashions that rule the feminine world. They are women who live only for the senses, with as utter and obvious disregard of any moral or intellectual purpose to be answered in living as a paroquet or a macaw. They have no family ties; love, in its pure domestic sense, is an impossibility in their lot; religion in any sense is another impossibility; and their whole intensity of existence, therefore, is concentrated on the question of sensuous enjoyment, and that personal adornment which is necessary to secure it. When the great, ruling country in the world of taste and fashion has fallen into such a state that the virtual leaders of fashion are women of this character, it is not to be supposed that the fashions emanating from them will be of a kind well adapted to express the ideas, the thoughts, the state of society, of a great Christian democracy such as ours ought to be.

"What is called, for example, the Pompadour style of dress, so much in vogue of late, we can see to be perfectly adapted to the kind of existence led by dissipated women, whose life is one revel of excitement; and who, never proposing to themselves any intellectual employment or any domestic duty, can afford to spend three or four hours every day under the hands of a waiting-maid, in alternately tangling and untangling their hair. Powder, paint, gold-dust and silver-dust, pomatums, cosmetics, are all perfectly appropriate where the ideal of life is to keep up a false show of beauty after the true bloom is wasted by dissipation. The woman who never goes to bed till morning, who never even dresses herself, who never takes a needle in her hand, who never goes to church, and never entertains one serious idea of duty of any kind, when got up in Pompadour style, has, to say the truth, the good taste and merit of appropriateness. Her dress expresses just what she is,--all false, all artificial, all meretricious and unnatural; no part or portion of her from which it might be inferred what her Creator originally designed her to be.

"But when a nice little American girl, who has been brought up to cultivate her mind, to refine her taste, to care for her health, to be a helpful daughter and a good sister, to visit the poor and teach in Sunday schools; when a good, sweet, modest little puss of this kind combs all her pretty hair backward till it is one mass of frowzy confusion; when she powders, and paints under her eyes; when she adopts, with eager enthusiasm, every _outré_, unnatural fashion that comes from the most dissipated foreign circles,--she is in bad taste, because she does not represent either her character, her education, or her good points. She looks like a second-rate actress, when she is, in fact, a most thoroughly respectable, estimable, lovable little girl, and on the way, as we poor fellows fondly hope, to bless some one of us with her tenderness and care in some nice home in the future.

"It is not the fashion in America for young girls to have waiting-maids,--in foreign countries it is the fashion. All this meretricious toilet--so elaborate, so complicated, and so contrary to nature--must be accomplished, and is accomplished, by the busy little fingers of each girl for herself; and so it seems to be very evident that a style of hair-dressing which it will require hours to disentangle, which must injure and in time ruin the natural beauty of the hair, ought to be one thing which a well-regulated court of inquiry would reject in our American fashions.

"Again, the genius of American life is for simplicity and absence of ostentation. We have no parade of office; our public men wear no robes, no stars, garters, collars, &c.; and it would, therefore, be in good taste in our women to cultivate simple styles of dress. Now I object to the present fashions, as adopted from France, that they are flashy and theatrical. Having their origin with a community whose senses are blunted, drugged, and deadened with dissipation and ostentation, they reject the simpler forms of beauty, and seek for startling effects, for odd and unexpected results. The contemplation of one of our fashionable churches, at the hour when its fair occupants pour forth, gives one a great deal of surprise. The toilet there displayed might have been in good keeping among showy Parisian women in an opera-house; but even their original inventors would have been shocked at the idea of carrying them into a church. The rawness of our American mind as to the subject of propriety in dress is nowhere more shown than in the fact that no apparent distinction is made between church and opera-house in the adaptation of attire. Very estimable, and, we trust, very religious young women sometimes enter the house of God in a costume which makes their utterance of the words of the litany and the acts of prostrate devotion in the service seem almost burlesque. When a brisk little creature comes into a pew with hair frizzed till it stands on end in a most startling manner, rattling strings of beads and bits of tinsel, mounting over all some pert little hat with a red or green feather standing saucily upright in front, she may look exceedingly pretty and _piquante_; and, if she came there for a game of croquet or a tableau-party, would be all in very good taste; but as she comes to confess that she is a miserable sinner, that she has done the things she ought not to have done and left undone the things she ought to have done,--as she takes upon her lips most solemn and tremendous words, whose meaning runs far beyond life into a sublime eternity,--there is a discrepancy which would be ludicrous if it were not melancholy.

"One is apt to think, at first view, that St. Jerome was right in saying,

'She who comes in glittering veil To mourn her frailty, still is frail.'

But St. Jerome was in the wrong, after all; for a flashy, unsuitable attire in church is not always a mark of an undevout or entirely worldly mind; it is simply a mark of a raw, uncultivated taste. In Italy, the ecclesiastical law prescribing a uniform black dress for the churches gives a sort of education to European ideas of propriety in toilet, which prevents churches from being made theatres for the same kind of display which is held to be in good taste at places of public amusement. It is but justice to the inventors of Parisian fashions to say, that, had they ever had the smallest idea of going to church and Sunday school, as our good girls do, they would immediately have devised toilets appropriate to such exigencies. If it were any part of their plan of life to appear statedly in public to confess themselves 'miserable sinners,' we should doubtless have sent over here the design of some graceful penitential habit, which would give our places of worship a much more appropriate air than they now have. As it is, it would form a subject for such a court of inquiry and adaptation as we have supposed, to draw a line between the costume of the theatre and the church.

"In the same manner, there is a want of appropriateness in the costume of our American women, who display in the street promenade a style of dress and adornment originally intended for showy carriage drives in such great exhibition grounds as the Bois de Boulogne. The makers of Parisian fashions are not generally walkers. They do not, with all their extravagance, have the bad taste to trail yards of silk and velvet over the mud and dirt of a pavement, or promenade the street in a costume so pronounced and striking as to draw the involuntary glance of every eye; and the showy toilets displayed on the _pavé_ by American young women have more than once exposed them to misconstruction in the eyes of foreign observers.

"Next to appropriateness, the second requisite to beauty in dress I take to be unity of effect. In speaking of the arrangement of rooms in the 'House and Home Papers,' I criticised some apartments wherein were many showy articles of furniture, and much expense had been incurred, because, with all this, there was no _unity of result_. The carpet was costly, and in itself handsome; the paper was also in itself handsome and costly; the tables and chairs also in themselves very elegant; and yet, owing to a want of any unity of idea, any grand harmonizing tint of color, or method of arrangement, the rooms had a jumbled, confused air, and nothing about them seemed particularly pretty or effective. I instanced rooms where thousands of dollars had been spent, which, because of this defect, never excited admiration; and others in which the furniture was of the cheapest description, but which always gave immediate and universal pleasure. The same rule holds good in dress. As in every apartment, so in every toilet, there should be one ground tone or dominant color, which should rule all the others, and there should be a general style of idea to which everything should be subjected.

"We may illustrate the effect of this principle in a very familiar case. It is generally conceded that the majority of women look better in mourning than they do in their ordinary apparel; a comparatively plain person looks almost handsome in simple black. Now why is this? Simply because mourning requires a severe uniformity of color and idea, and forbids the display of that variety of colors and objects which go to make up the ordinary female costume, and which very few women have such skill in using as to produce really beautiful effects.

"Very similar results have been attained by the Quaker costume, which, in spite of the quaint severity of the forms to which it adhered, has always had a remarkable degree of becomingness, because of its restriction to a few simple colors and to the absence of distracting ornament.

"But the same effect which is produced in mourning or the Quaker costume may be preserved in a style of dress admitting color and ornamentation. A dress may have the richest fulness of color, and still the tints may be so chastened and subdued as to produce the impression of a severe simplicity. Suppose, for example, a golden-haired blonde chooses for the ground-tone of her toilet a deep shade of purple, such as affords a good background for the hair and complexion. The larger draperies of the costume being of this color, the bonnet may be of a lighter shade of the same, ornamented with lilac hyacinths, shading insensibly towards rose-color. The effect of such a costume is simple, even though there be much ornament, because it is ornament artistically disposed towards a general result.

"A dark shade of green being chosen as the ground-tone of a dress, the whole costume may, in like manner, be worked up through lighter and brighter shades of green, in which rose-colored flowers may appear with the same impression of simple appropriateness that is made by the pink blossom over the green leaves of a rose. There have been times in France when the study of color produced artistic effects in costume worthy of attention, and resulted in styles of dress of real beauty. But the present corrupted state of morals there has introduced a corrupt taste in dress; and it is worthy of thought that the decline of moral purity in society is often marked by the deterioration of the sense of artistic beauty. Corrupt and dissipated social epochs produce corrupt styles of architecture and corrupt styles of drawing and painting, as might easily be illustrated by the history of art. When the leaders of society have blunted their finer perceptions by dissipation and immorality, they are incapable of feeling the beauties which come from delicate concords and truly artistic combinations. They verge towards barbarism, and require things that are strange, odd, dazzling, and peculiar to captivate their jaded senses. Such we take to be the condition of Parisian society now. The tone of it is given by women who are essentially impudent and vulgar, who override and overrule, by the mere brute force of opulence and luxury, women of finer natures and moral tone. The court of France is a court of adventurers, of _parvenus_; and the palaces, the toilets, the equipage, the entertainments, of the mistresses outshine those of the lawful wives. Hence comes a style of dress which is in itself vulgar, ostentatious, pretentious, without simplicity, without unity, seeking to dazzle by strange combinations and daring contrasts.

"Now, when the fashions emanating from such a state of society come to our country, where it has been too much the habit to put on and wear, without dispute and without inquiry, any or everything that France sends, the results produced are often things to make one wonder. A respectable man, sitting quietly in church or other public assembly, may be pardoned sometimes for indulging a silent sense of the ridiculous in the contemplation of the forest of bonnets which surround him, as he humbly asks himself the question, Were these meant to cover the head, to defend it, or to ornament it? and if they are intended for any of these purposes, how?

"I confess, to me nothing is so surprising as the sort of things which well-bred women serenely wear on their heads with the idea that they are ornaments. On my right hand sits a good-looking girl with a thing on her head which seems to consist mostly of bunches of grass, straws, with a confusion of lace, in which sits a draggled bird, looking as if the cat had had him before the lady. In front of her sits another, who has a glittering confusion of beads swinging hither and thither from a jaunty little structure of black and red velvet. An anxious-looking matron appears under the high eaves of a bonnet with a gigantic crimson rose crushed down into a mass of tangled hair. She is _ornamented_! she has no doubt about it.

"The fact is, that a style of dress which allows the use of everything in heaven above or earth beneath requires more taste and skill in disposition than falls to the lot of most of the female sex to make it even tolerable. In consequence, the flowers, fruits, grass, hay, straw, oats, butterflies, beads, birds, tinsel, streamers, jinglers, lace, bugles, crape, which seem to be appointed to form a covering for the female head, very often appear in combinations so singular, and the results, taken in connection with all the rest of the costume, are such, that we really think the people who usually assemble in a Quaker meeting-house are, with their entire absence of ornament, more becomingly attired than the majority of our public audiences. For if one considers his own impression after having seen an assemblage of women dressed in Quaker costume, he will find it to be, not of a confusion of twinkling finery, but of many fair, sweet _faces_, of charming, nice-looking _women_, and not of articles of dress. Now this shows that the severe dress, after all, has better answered the true purpose of dress, in setting forth the _woman_, than our modern costume, where the woman is but one item in a flying mass of colors and forms, all of which distract attention from the faces they are supposed to adorn. The dress of the Philadelphian ladies has always been celebrated for its elegance of effect, from the fact, probably, that the early Quaker parentage of the city formed the eye and the taste of its women for uniform and simple styles of color, and for purity and chastity of lines. The most perfect toilets that have ever been achieved in America have probably been those of the class familiarly called the gay Quakers,--children of Quaker families, who, while abandoning the strict rules of the sect, yet retain their modest and severe reticence, relying on richness of material, and soft, harmonious coloring, rather than striking and dazzling ornament.

"The next source of beauty in dress is the impression of truthfulness and reality. It is a well-known principle of the fine arts, in all their branches, that all shams and mere pretences are to be rejected,--a truth which Ruskin has shown with the full lustre of his many-colored prose-poetry. As stucco pretending to be marble, and graining pretending to be wood, are in false taste in building, so false jewelry and cheap fineries of every kind are in bad taste; so also is powder instead of natural complexion, false hair instead of real, and flesh-painting of every description. I have even the hardihood to think and assert, in the presence of a generation whereof not one woman in twenty wears her own hair, that the simple, short-cropped locks of Rosa Bonheur are in a more beautiful style of hair-dressing than the most elaborate edifice of curls, rats, and waterfalls that is erected on any fair head now-a-days."

"O Mr. Crowfield! you hit us all now," cried several voices.

"I know it, girls,--I know it. I admit that you are all looking very pretty; but I do maintain that you are none of you doing yourselves justice, and that Nature, if you would only follow her, would do better for you than all these elaborations. A short crop of your own hair, that you could brush out in ten minutes every morning, would have a more real, healthy beauty than the elaborate structures which cost you hours of time, and give you the headache besides. I speak of the short crop,--to put the case at the very lowest figure,--for many of you have lovely hair of different lengths, and susceptible of a variety of arrangements, if you did not suppose yourself obliged to build after a foreign pattern, instead of following out the intentions of the great Artist who made you.

"Is it necessary absolutely that every woman and girl should look exactly like every other one? There are women whom Nature makes with wavy or curly hair: let them follow her. There are those whom she makes with soft and smooth locks, and with whom crinkling and craping is only a sham. They look very pretty with it, to be sure; but, after all, is there but one style of beauty? and might they not look prettier in cultivating the style which Nature seemed to have intended for them?

"As to the floods of false jewelry, glass beads, and tinsel finery which seem to be sweeping over the toilet of our women, I must protest that they are vulgarizing the taste, and having a seriously bad effect on the delicacy of artistic perception. It is almost impossible to manage such material and give any kind of idea of neatness or purity; for the least wear takes away their newness. And of all disreputable things, tumbled, rumpled, and tousled finery is the most disreputable. A simple white muslin, that can come fresh from the laundry every week, is, in point of real taste, worth any amount of spangled tissues. A plain straw bonnet, with only a ribbon across it, is in reality in better taste than rubbishy birds or butterflies, or tinsel ornaments.

"Finally, girls, don't dress at hap-hazard; for dress, so far from being a matter of small consequence, is in reality one of the fine arts,--so far from trivial, that each country ought to have a style of its own, and each individual such a liberty of modification of the general fashion as suits and befits her person, her age, her position in life, and the kind of character she wishes to maintain.

"The only motive in toilet which seems to have obtained much as yet among young girls is the very vague impulse to look 'stylish,'--a desire which must answer for more vulgar dressing than one would wish to see. If girls would rise above this, and desire to express by their dress the attributes of true ladyhood, nicety of eye, fastidious neatness, purity of taste, truthfulness, and sincerity of nature, they might form, each one for herself, a style having its own individual beauty, incapable of ever becoming common and vulgar.

"A truly trained taste and eye would enable a lady to select from the permitted forms of fashion such as might be modified to her purposes, always remembering that simplicity is safe, that to attempt little, and succeed, is better than to attempt a great deal, and fail.

"And now, girls, I will finish by reciting to you the lines old Ben Jonson addressed to the pretty girls of his time, which form an appropriate ending to my remarks.

'Still to be neat, still to be dressed As you were going to a feast; Still to be powdered, still perfumed; Lady, it is to be presumed, Though art's hid causes are not found, All is not sweet, all is not sound.

'Give me a look, give me a face, That makes simplicity a grace,-- Robes loosely flowing, hair as free: Such sweet neglect more taketh me Than all the adulteries of art, That strike my eyes, but not my heart.'"

EDWIN BOOTH.

When we mark the struggles of a brave spirit against the restrictions of an ignoble body, we pay admiring honors to every success that it achieves. It is the contest between human will and untoward fate. Each triumph is a victory of man's dearest heritage, spiritual power. Some have made themselves great captains despite physical weakness and natural fear; scholars and writers have become renowned, though slow to learn, or, haply, "with wisdom at one entrance quite shut out"; nor have stammering lips and shambling figure prevented the rise of orators and actors, determined to give utterance to the power within. But, in our approval of the energy that can so vanquish the injuries of fortune, we are apt to overrate its quality, and to forget how much more exquisite the endowment would be if allied with those outward resources which complete the full largess of Heaven's favoritism. In the latter case we yield our unqualified affection to beings who afford us an unqualified delight. We are reverencing the gifts of the gods; and in their display see clearly that no human will can secure that nobility of appearance and expression which a few maintain without intention, and by right of birth.

Bodily fitness is no small portion of a genius for any given pursuit; and, in the conduct of life, the advantages of external beauty can hardly be overrated. All thinkers have felt this. Emerson says "of that beauty which reaches its perfection in the human form," that "all men are its lovers; wherever it goes, it creates joy and hilarity, and everything is permitted to it." Now there is a beauty of parts, which is external; and another of the expression of the soul, which is the superior. But in its higher grades the former implies the latter. Socrates said that his ugliness accused just as much in his soul, had he not corrected it by education. And Montaigne writes: "The same word in Greek signifies both fair and good, and Holy Word often calls those good which it would call fair"; and, moreover, "Not only in the men that serve me, but also in the beasts, I consider this point within two finger-breadths of goodness."

Can we claim too much for physical adaptation in our measure of the rank to be accorded an actor? For he of all others, not excepting the orator, makes the most direct personal appeal to our tastes. In his own figure he holds the mirror up to Nature, while his voice must be the echo of her various tones. By the law of aristocracy in art, he must be held so much the greater, as he is able to depict the nobler manifestations of her forms and passions. Of course the first excellence is that of truth. A spirited enactment of Malvolio, of Falstaff, or of Richard Crookback has the high merit of faithfully setting forth humanity, though in certain whimsical or distorted phases; but we are more profoundly enriched by the portrayal of higher types. And thus, in making an actor's chosen and successful studies a means of measuring his genius, we find in the self-poise which wins without effort, and must throughout sustain the princely Hamlet, or Othello tender and strong, that grand manner which, in painting, places the art of Raphael and Angelo above that of Hogarth or Teniers. Each may be perfect in its kind, but one kind exceeds another in glory.

We have two pictures before us. One, on paper yellow with the moth of years, is the portrait of an actor in the costume of Richard III. What a classic face! English features are rarely cast in that antique mould. The head sits lightly on its columnar neck, and is topped with dark-brown curls, that cluster like the acanthus; the gray eyes are those which were justly described as being "at times full of fire, intelligence, and splendor, and again of most fascinating softness"; and the nose is of "that peculiar Oriental construction, which gives an air of so much distinction and command." Such was the countenance of Junius Brutus Booth,--that wonderful actor, who, to powers of scorn, fury, and pathos rivalling those which illumined the uneven performances of Edmund Kean, added scholastic attainments which should have equalized his efforts, and made every conception harmonious with the graces of a philosophical and cultured soul. In structure the genius of the elder Booth was indeed closely akin to that of Kean, if not the rarer of the two, notwithstanding the triumphant assertion of Doran, who says that Booth was driven by Kean's superiority to become a hero to "transpontine audiences." Each relied upon his intuitive, off-hand conception of a given part, and fell back to nature in his methods, throwing aside conventionalisms which had long ruled the English stage. But the former was capable of more fervid brightness in those flashes which characterized the acting of them both. Still, there was something awry within him, which in his body found a visible counterpart. The shapely trunk, crowned with the classic head, was set upon limbs of an ungainly order, short, of coarse vigor, and "gnarled like clumps of oak." Above, all was spiritual; below, of the earth, earthy, and dragging him down. Strong souls, thus inharmoniously embodied, have often developed some irregularity of heart or brain: a disproportion, which only strength of purpose or the most favorable conditions of life could balance and overcome. With the elder Booth, subjected to the varying fortunes and excitements of the early American stage, the evil influence gained sad ascendency, and his finest renditions grew "out of tune and harsh." In depicting the pathetic frenzy of Lear, such actors as he and Kean, when at their best, can surpass all rivals; and the grotesque, darkly-powerful ideals of Richard and Shylock are precisely those in which they will startle us to the last, gathering new, though fitful, expressions of hate and scorn, as their own natures sink from ethereal to grosser atmospheres. The mouth catches most surely the growing tendency of a soul; and on the lips of the elder Booth there sat a natural half-sneer of pride, which defined the direction in which his genius would reach its farthest scope.

The second picture is a likeness of this great actor's son,--of a face and form now wonted to all who sustain the standard drama of to-day. Here is something of the classic outline and much of the Greek sensuousness of the father's countenance, but each softened and strengthened by the repose of logical thought, and interfused with that serene spirit which lifts the man of feeling so far above the child of passions unrestrained. The forehead is higher, rising toward the region of the moral sentiments; the face is long and oval, such as Ary Scheffer loved to draw; the chin short in height, but, from the ear downwards, lengthening its distinct and graceful curve. The head is of the most refined and thorough-bred Etruscan type, with dark hair thrown backwards and flowing student-wise; the complexion, pale and striking. The eyes are black and luminous, the pupils contrasting sharply with the balls in which they are set. If the profile and forehead evince taste and a balanced mind, it is the hair and complexion, and, above all, those remarkable eyes,--deep-searching, seen and seeing from afar,--that reveal the passions of the father in their heights and depths of power. The form is taller than either that of the elder Booth or Kean, lithe, and disposed in symmetry; with broad shoulders, slender hips, and comely tapering limbs, all supple, and knit together with harmonious grace. We have mentioned personal fitness as a chief badge of the actor's peerage, and it is of one of the born nobility that we have to speak. Amongst those who have few bodily disadvantages to overcome, and who, it would seem, should glide into an assured position more easily than others climb, we may include our foremost American tragedian,--EDWIN THOMAS BOOTH.[D]

But men are often endowed with plenteous gifts for which they never find employment, and thus go to the bad without discovering their natural bent to others or even to themselves. In the years preceding our late war how many were rated as vagabonds, who had that within them which has since won renown! They were "born soldiers," and, in the piping time of peace, out of unison with the bustling crowd around them. Life seemed a muddle, and of course they went astray. But when the great guns sounded, and the bugles rang, they came at once to their birthright, and many a ne'er-do-well made himself a patriot and hero forever.

Edwin Booth, having the capabilities of a great actor, found himself about the stage in his childhood, and, by an unwonted kindness of fortune, went through with perhaps the exact training his genius required. If the atmosphere of the theatre had not almost enwrapt his cradle, and thus become a necessity of his after years, his reflective, brooding temperament and æsthetic sensitiveness might have impelled him to one of the silent professions, or kept him an irresolute dreamer through an unsuccessful life. But while his youth was passed in the green-room, a stern discipline early made him self-reliant, matured his powers, taught him executive action, and gave him insight of the passions and manners of our kind. As for black-letter knowledge, such a nature as his was sure to gain that,--to acquire in any event, and almost unknowingly, what mere talent only obtains by severe, methodical application. We know how genius makes unconscious studies, while in the daily routine of life. The soul works on, unassisted, and at length bursts out into sudden blaze. How did Booth study? Just as young Franklin weighed the minister's sermons, while mentally intent upon the architecture of the church roof. Night after night the lonely face brightened the shadows of the stage-wings, and the delicate ear drank in the folly, the feeling, the wit and wisdom of the play. To such a boyhood the personal contact of his father's nature was all in all. It was quaffing from the fountain-head, not from streams of the imitation of imitation. As the genius of the father refined the intellect and judgment of the son, so the weaknesses coupled with that genius taught him strength of character and purpose. We have heard of nothing more dramatic than the wandering companionship of this gifted pair,--whether the younger is awaiting, weary and patient, the end of the heard but unseen play, or watching over his father at a distance, when the clouds settled thickly upon that errant mind, through long nights and along the desolate streets of a strange city. With other years came the time for young Booth to fight his own battle, and wander on his own account through an apprenticeship preceding his mature successes,--to gain those professional acquirements which were needed to complete his education, and to make that tasteful research to which he naturally inclined. He is now in the sunshine of his noonday fame; and we may estimate his measure of excellence by a review of those chosen and successful renderings, that seem most clearly to define his genius, and to mark the limits of height and versatility which he can attain.

Take, then, the part of Hamlet, which, in these days, the very mention of his name suggests. Little remains to be said of that undying play, whose pith and meaning escaped the sturdy English critics, until Coleridge discovered it by looking into his own soul, and those all-searching Germans pierced to the centre of a disposition quite in keeping with their national character. A score of lights have since brought out every thought and phrase, and we now have Hamlet so clearly in our mind's eye as to wonder how our predecessors failed to comprehend his image. But what does this tragedy demand of an actor? Proverbially, that he himself shall fill it, and hold the stage from its commencement to its end. The play of "Hamlet" is the part of Hamlet. The slowness of its action, and the import of its dialogue and soliloquies, make all depend upon the central figure. Next, he is to depict the most accomplished gentleman ever drawn; not gallant, gay Mercutio, nor courtly Benedict, but the prince and darling of a realm; one who cannot "lack preferment," being of birth above mean ambition and self-conscious unrest; a gentleman by heart, no less,--full of kindly good-fellowship, brooking no titles with his friends, loving goodness and truth, impatient of fools, scorning affectation; moreover, the glass of fashion and the mould of form, the modern ideal of manly beauty,--which joins with the classic face and figure that charm of expression revealing a delicate mind within. For our Hamlet is both gentleman and scholar. History and philosophy have taught him the vice of kings, the brevity of power and forms, the immortality of principles, the art of generalization; while contact with society has made him master of those "shafts of gentle satire," for which all around him are his unconscious targets. His self-respect and self-doubt balance each other, until the latter outweighs the former, under the awful pressure of an unheard-of woe. Finally, he comes before us in that poetical, speculative period of life following the years of study and pleasure, and preceding those of executive leadership. Prince, gentleman, scholar, poet,--he is each, and all together, and attracts us from every point of view.

Upon this noblest youth--so far in advance of his rude and turbulent time--throw a horror that no philosophy, birth, nor training can resist--one of those weights beneath which all humanity bows shuddering; cast over him a stifling dream, where only the soul can act, and the limbs refuse their offices; have him pushed along by Fate to the lowering, ruinous catastrophe; and you see the dramatic chainwork of a part which he who would enact Hamlet must fulfil.

It has been said, distinguishing between the effects of comedy and tragedy, that to render the latter ennobles actors, so that successful tragedians have acquired graces of personal behavior. But one who does not possess native fineness before his portrayal of Hamlet will never be made a gentleman by the part. In its more excited phases, a man not born to the character may succeed. As in Lear, the excess of the passion displayed serves as a mask to the actor's disposition. In its repose, the ideal Hamlet is hard to counterfeit. In the reflective portions and exquisite minor play which largely occupy its progress, and in the princely superiority of its chief figure, there can be little _acting_ in the conventional sense. There is a quality which no false ware can imitate. The player must be himself.

This necessity, we think, goes far toward Booth's special fitness for the part. He is in full sympathy with it, whether on or off the stage. We know it from our earliest glance at that lithe and sinuous figure, elegant in the solemn garb of sables,--at the pallor of his face and hands, the darkness of his hair, those eyes that can be so melancholy-sweet, yet ever look beyond and deeper than the things about him. Where a burlier tragedian must elaborately pose himself for the youth he would assume, this actor so easily and constantly falls into beautiful attitudes and movements, that he seems to go about, as we heard a humorist say, "making statues all over the stage." No picture can equal the scene where Horatio and Marcellus swear by his sword, he holding the crossed hilt upright between the two, his head thrown back and lit with high resolve. In the fencing-bout with Laertes he is the apotheosis of grace; and since, though his height and shoulder-breadth are perfect, he is somewhat spare in form, you call to mind--in accounting for this charm of motion, not studied, "like old Hayward's, between two looking-glasses"--the law that beauty is frame-deep; that grace results from the conscious, harmonious adjustment of joints and bones, and not from accidental increase and decrease of their covering. There is more hidden art in his sitting attitudes upon the quaint lounges of the period; whether rebuking his own remissness, or listening to "the rugged Pyrrhus," or playing upon old Polonius,--setting his breast, as it were, against the thorn of his own disgust.

A sense of the fitness of things makes Booth hold himself in close restraint when not engaged upon the sharper crises of the play. This we conceive to be the true art-spirit. There is no attempt to rouse the house by elocutionary climaxes or quick-stopping strides. Like Betterton, he courts rapturous silence rather than clamorous applause. So finished is all this as a study, that the changes into the more dramatic passages at first grate harshly upon the eye and ear. For, after all, it is a tragedy, full of spectral terrors. Lord Hamlet feels it in his soul. Why should this delicate life be so rudely freighted? Booth, faithful to the action, accepts the passion and the pang. We hardly relish his gasping utterance and utter fall, when the Ghost rehearses his story on those solemn battlements of Elsinore. But think what he is seeing: not the stage-vision for which we care so little, but the spectre of his father,--a midnight visitant from the grave! It has been asserted that no man ever _believed_ he saw a spirit and survived the shock. And it is strongly urged, as a defence of Booth's conception of this scene, that, in the closet interview with the Queen, after the slaying of Polonius, and on the Ghost's reappearance, we, now wrought up to the high poetic pitch by the dialogue and catastrophe, and by the whole progress of the piece, ourselves catch the key, expect, and fully sympathize with his horror and prostration, and accept the fall to earth as the proper sequel to that dreadful blazon from the other world. Notwithstanding this, it seems to us that Booth should tone down his manner in the first Act. The audience has hardly left the outer life, and cannot identify itself with the player; and an artist must acknowledge this fact, and not too far exceed the elevation of his hearers.

Five years ago there was a weakness in Booth's voice, making the listener apprehensive of the higher and louder tones. This insufficiency has passed away with practice and growth, and his utterance now has precisely the volume required in Hamlet,--being musical and distinct in the quiet parts, and fully sustaining each emotional outburst.

In effective compositions there is a return to the theme or refrain of the piece, when the end is close upon us. One of the finest points in this play is, that after the successive episodes of the killing of Polonius, the madness and death of Ophelia, and the wild bout with Laertes at her burial, Hamlet reassumes his every-day nature, and is never more thoroughly himself than when Osric summons him to the fencing-match, and his heart grows ill with the shadow of coming death. The Fates are just severing his thread; events that shall sweep a whole dynasty, like the house of Atreus, into one common ruin, are close at hand; but Philosophy hovers around her gallant child, and the sweet, wise voice utters her teachings for the last time: "If it be now, 't is not to come; if it be not to come, it will be now; if it be not now, yet it will come; the readiness is all. Let be." Then follow the courtesy, the grace, the fraud, the justice, of the swift, last scene; the curtain falls; and now the yearning sympathies of the hearers break out into sound, and the actor comes before the footlights to receive his meed of praise. How commonplace it is to read that such a one was called before the curtain and bowed his thanks! But sit there; listen to the applauding clamor of two thousand voices, be yourself lifted on the waves of that exultation, and for a moment you forget how soon all this will be hushed forever, and, in the triumph of the actor, the grander, more enduring genius of the writer whose imagination first evoked the spell.

The performance of Richelieu, from one point of view, is a complete antithesis to that of the melancholy Dane. In the latter we see and think of Booth; in the former, his household friends, watching My Lord Cardinal from first to last, have nothing to recall him to their minds. The man is transformed, is _acting_ throughout the play. Voice, form, and countenance are changed; only the eyes remain, and they are volcanic with strange lustre,--mindful of the past, suspicious of the present, fixed still upon the future with piercing intent. The soul of the Cardinal, nearing its leave of the tenement that has served it so long, glares out of the windows, with supernatural regard, over the luxury, the intrigue, the danger, the politics, the empire it must soon behold no more. As the piece is now produced, with fidelity to details of use and decoration,--with armor, costumery, furniture, and music of the period of Louis XIII.,--with all this boast of heraldry and pomp of power, the illusion is most entire. The countenance is that of the old portrait; white flowing locks, cap, robes, raised moustache, and pointed beard,--all are there. The voice is an old man's husky treble, and we have the old man's step, the tremor, and recurring spasmodic power; nor is there any moment when the actor forgets the part he has assumed. Yes, it is age itself; but the sunset of a life whose noonday was gallantry, valor, strength,--and intellectual strength never so much as now. How we lend our own impulses to the effort with which the veteran grasps the sword wherewith he shore "the stalwart Englisher," strive with him in that strong yearning to whirl it aloft, sink with him in the instant, nerveless reaction, and sorrow that "a child could slay Richelieu now!" He is not the intriguer of dark tradition, wily and cruel for low ambitious ends, but entirely great, in his protection of innocence and longing for affection, and most of all in that supreme love of France to which his other motives are subservient. Booth seizes upon this as the key-note of the play, and is never so grand as when he rises at full height with the averment,

"I found France rent asunder; The rich men despots, and the poor banditti; Sloth in the mart, and schism within the temple; Brawls festering to rebellion, and weak laws Rotting away with rust in antique sheaths,-- _I have re-created France!_"

Bulwer's "Richelieu," though written in that author's pedantic, artificial manner, and catching the groundlings with cheap sentiment and rhetorical platitudes, is yet full of telling dramatic effects, which, through the inspiration of a fine actor, lift the most critical audience to sudden heights. One of this sort is justly famous. We moderns, who so feebly catch the spell which made the Church of Rome sovereign of sovereigns for a thousand years, have it cast full upon us in the scene where the Cardinal, deprived of temporal power, and defending his beautiful ward from royalty itself, draws around her that Church's "awful circle," and cries to Baradas,

"Set but a foot within that holy ground, And on thy head--yea, though it wore a crown-- _I launch the curse of Rome!_"

Booth's expression of this climax is wonderful. There is perhaps nothing, of its own kind, to equal it upon the present stage. Well may the king's haughty parasites cower, and shrink aghast from the ominous voice, the finger of doom, the arrows of those lurid, unbearable eyes! But it is in certain intellectual elements and pathetic undertones that the part of Richelieu, as conceived by Bulwer, assimilates to that of Hamlet, and comes within the realm where our actor's genius holds assured sway. The argument of the piece is spiritual power. The body of Richelieu is wasted, but the soul remains unscathed, with all its reason, passion, and indomitable will. He is still prelate, statesman, and poet, and equal to a world in arms.

The requisite subtilty of analysis, and sympathy with mental finesse, must also specially adapt this actor to the correct assumption of the character of Iago. Those who have never seen him in it may know by analogy that his merits are not exaggerated. We take it that Iago is a sharply intellectual personage, though his logic, warped by grovelling purpose, becomes sophistry, while lustful and envious intrigues occupy his skilful brain. We have described the beauty of Booth's countenance in repose. But it is equally remarkable for mobility, and his most expressive results are produced by liftings of the high-arched brows and the play of passions about the flexible mouth. The natural line of his lip, not scornful in itself, is on that straight border-ground where a hair's breadth can raise it into sardonic curves, transforming all its good to sneering evil. In his rendering, Iago must become a shining, central incarnation of tempting deceit, with Othello's generous nature a mere puppet in his hands. As Richard III., we should look to find him most effective in schemeful soliloquy and the phases of assumed virtue and affection, while perhaps less eminent than his father or Edmund Kean in that headlong, strident unrest, which hurried on their representations to the fury or the retributive end.

To give the distant reader our own impression of a great actor is a slow and delicate task, and perhaps the most we can accomplish is to set him before others somewhat as he has appeared to us, and to let each decide for himself the question of histrionic rank. But have we not unconsciously defined our view of the excellence of Booth's genius, and hinted at its limitations? The latter are by no means narrow, for his elastic, adaptable nature insures him versatility; and, despite the world's scepticism as to the gift of an artist to do more than one thing well, he is acknowledged to surpass our other actors in a score of elegant parts. Amongst these are Pescara, Petruchio, and Sir Edward Mortimer; while in a few pieces of the French romance-school, such as "Ruy Blas," and that terrible "The King's Jester," he has introduced to us studies of a novel and intensely dramatic kind. As for the lighter order, the greater including the less, our best Hamlet should be the best "walking gentleman," if he elect to assume that versatile personage's offices. We know also that Booth's Shylock should be a masterly performance, since his voice, complexion, eyes, and inherited powers of scorn, all lend their aid to his mental appreciation of the part. But it is not our purpose to consider any of these _rôles_. We only allude to them to say that in most directions his equal has not appeared on the American stage; and in qualifying an opinion of his powers, we make no exception in favor of his contemporaries, but, rather, of those who have been and shall be again, when Jove shall

"let down from his golden chain An age of better metal."

As Hamlet, Mr. Booth will hardly improve his present execution, since he is now at the age of thirty-two, and can never fill more easily the youthful beauty of the part, without artifice, and, we may say, by the first intention. We should like to see him, ere many winters have passed over his head, in some new classic play, whose arrangement should not be confined to the bald, antique model, nor drawn out in sounding speeches like Talfourd's "Ion," nor yet too much infused with the mingled Gothic elements of our own drama; but warm with sunlight, magical with the grace of the young Athenian feeling, and full of a healthful action which would display the fairest endowments of his mind and person. As Lear or Shylock, he will certainly grow in power as he grows in years, and may even gain upon his masterly performance of Richelieu. But in one department, and that of an important order, he will perhaps never reach the special eminence at which we place a few historic names.

Our exception includes those simply powerful characters, the ideal of which his voice and magnetism cannot in themselves sustain. At certain lofty passages he relies upon nervous, electrical effort, the natural weight of his temperament being unequal to the desired end. Those flashing impulses, so compatible with the years of Richelieu and the galled purpose of Shylock, would fail to reveal satisfactorily the massive types, which rise by a head, like Agamemnon, above the noblest host. Dramatic representations may be classed under the analogous divisions of poetry: for instance, the satirical, the bucolic, the romantic, the reflective, the epic. The latter has to do with those towering creatures of action--Othello, Coriolanus, Virginius, Macbeth--somewhat deficient, whether good or evil, in the casuistry of more subtile dispositions, but giants in emotion, and kingly in repose. They are essentially _masculine_, and we connect their ideals with the stately figure, the deep chest-utterance, the slow, enduring majesty of mien. The genius of Mr. Booth has that feminine quality which, though allowing him a wider range, and enabling him to render even these excepted parts after a tuneful, elaborate, and never ignoble method of his own, might debar him from giving them their highest interpretation,--or, at least, from sustaining it, without sharp falsetto effort, throughout the entire passage of a play. In a few impersonations, where Kemble, with all his mannerisms and defective elocution, and Macready, notwithstanding his uninspired, didactic nature, were most at their ease and successful, this actor would be somewhat put to his mettle,--a fact of which he is probably himself no less aware.

After all, what are we saying, except that his genius is rather Corinthian than Doric, and therefore more cultured, mobile, and of wider range? If Kemble was the ideal Coriolanus and Henry V., he was too kingly as Hamlet, and Booth is the _princeliest_ Hamlet that ever trod the stage. If Kean and the elder Booth were more supernal in their lightnings of passion and scorn,--and there are points in "Richelieu" which leave this a debatable question,--Edwin Booth is more equal throughout, has every resource of taste and study at his command; his action is finished to the last, his stage-business perfect, his reading distinct and musical as a bell. He is thus the ripened product of our eclectic later age, and has this advantage about him, being an American, that he is many-sided, and draws from all foreign schools their distinctive elements to fuse into one new, harmonious whole.

It is our fashion to speak of the decline of the Drama, to lament not only a decay of morals, manners, and elocution, but the desertion of standard excellence for the frippery which only appeals to the lightest popular taste. But this outcry proceeds mostly from old fogies, and those who only reverence the past, while the halo which gilds the memories of youth is the cause of its ceaseless repetition. For it has been heard through every period. It was in the era when our greatest dramas were created that Ben Jonson, during a fit of the spleen, occasioned by the failure of "The New Inn," begat these verses "to himself":--

"Come, leave the loathed stage, And this more loathsome age, Where pride and impudence, in faction knit, Usurp the chair of wit! Inditing and arranging every day Something they call a play."

At the commencement of our own century, and in what we are wont to consider the Roscian Period of the British stage, its condition seemed so deplorable to Leigh Hunt, then the dramatic critic of "The News," as to require "An Essay on the Appearance, Causes, and Consequences of the Decline of British Comedy." "Of Tragedy," he wrote, "we have nothing; and it is the observation of all Europe that the British Drama is rapidly declining." Yet the golden reign of the Kembles was then in its prime; and such names as Bannister, Fawcett, Matthews, Elliston, and Cooke occur in Hunt's graceful and authoritative sketches of the actors of the day.[E] As to the newer plays, Gifford said, "All the fools in the kingdom seem to have exclaimed with one voice, Let us write for the theatre!" Latter-day croakers would have us believe that the Tragic Muse, indignant at the desecration of her English altars, took flight across the ocean, alighting in solemn majesty at the Old Park Theatre of New York, but that she disappeared utterly in the final conflagration of that histrionic shrine. Well, there are smouldering remnants of the Old Park still left to us; veteran retainers of the conventional stride, the disdainful gesture, the Kemble elocution, and that accent which was justly characterized as

"Ojus, insijjus, hijjus, and perfijjus!"

But the Muse is immortal, though so changing the fashion of her garb, it would appear, as often to fail of recognition from ancient friends. We think that modern acting is quite as true to nature as that of the school which has passed away, while its accessories are infinitely richer and more appropriate; and as to the popular judgment, how should that be on the decline? In America,--where common wealth makes common entrance, and the lines are not so clearly drawn between the unskilful many and the judicious few,--managers will always make concessions to the whim and folly of the hour. But we see no cause for discouragement, so long as dramas are set forth with the conscientious accuracy that has marked the latest productions of "Hamlet" and "Richelieu," and while hushed and delighted audiences, drawn from every condition of society, leave all meaner performances to hang upon the looks and accents of Nature's sweet interpreter,--Edwin Booth.

FOOTNOTES:

[D] _Not_ Edwin _Forrest_ Booth, as often and erroneously written. Our actor, born in November, 1833, derived his middle name from Thomas Flyn, the English comedian, his father's contemporary and friend. Edwin was the chosen companion of his father in the latter's tours throughout the United States, and was regarded by the old actor with a strange mixture of repulsion and sympathy,--the one evinced in lack of outward affection and encouragement, the other in a silent but undoubted appreciation of the son's promise. The boy, in turn, so fully understood the father's temperament, that a bond existed between the two. Whether to keep Edwin from the stage, or in caprice, the elder Booth at first rarely permitted the younger to see him act; but the son, attending the father to the theatre, would sit in the wings for hours, listening to the play, and having all its parts so indelibly impressed on him memory as to astonish his brother-actors in later years.

[E] "Critical Essays on the Performers of the London Theatres, including General Observations on the Practice and Genius of the Stage. London, 1807." Some publisher would do well to give us a reprint of this noted collection.

AMONG THE LAURELS.

"The sunset's gorgeous dyes Paled slowly from the skies, And the clear heaven was waiting for the stars, As side by side we strayed Adown a sylvan glade, And found our pathway crossed by rustic bars.

Beyond the barrier lay A green and tempting way, Arched with fair laurel-trees, a-bloom and tall,-- Their cups of tender snow Touched with a rosy glow, And warm sweet shadows trembling over all.

The chestnuts sung and sighed, The solemn oaks replied, And distant pine-trees crooned in slumberous tones; While music low and clear Gushed from the darkness near, Where a shy brook went tinkling over stones.

Soft mosses, damp and sweet, Allured our waiting feet, And brambles veiled their thorns with treacherous bloom; While tiny flecks of flowers, Which own no name of ours, Added their mite of beauty and perfume.

And hark! a hidden bird-- To sudden utterance stirred, As by a gushing love too great to bear With voiceless silence long-- Burst into passionate song, Filling with his sweet trouble all the air.

Then one, whose eager soul Could brook no slight control, Said, "Let us thread this pleasant path, dear friend,-- If thus the _way_ can be So beautiful to see, How much more beautiful must be the _end_!

"Follow! this solitude May shrine the haunted wood, Storied so sweetly in romance and rhyme,-- Secure from human ill, And rarely peopled still By Fauns and Dryads of the olden time.

"A spot of hallowed ground By mortal yet unfound, Sacred to nymph and sylvan deity,-- Where foiled Apollo glides, And bashful Daphne hides Safe in the shelter of her laurel-tree!"

"Forbear!" the other cried,-- "O, leave the way untried! Those joys are sweetest which we only guess, And the impatient soul, That seeks to grasp the whole, Defeats itself by its own eagerness.

"Let us not rudely shake The dew-drop from the brake Fringing the borders of this haunted dell; All the delights which are-- The present and the far-- Lose half their charm by being known too well!

"And he mistakes who tries To search all mysteries,-- Who leaves no cup undrained, no path untracked; Who seeks to know too much Brushes with eager touch The bloom of Fancy from the brier of Fact.

"Keep one fair myth aloof From hard and actual proof; Preserve some dear delusions as they seem, Since the reality, How bright soe'er it be, Shows dull and cold beside our marvellous dream.

"Leave this white page unscored, This rare realm unexplored, And let dear Fancy roam there as she will; Whatever page we turn, However much we learn, Let there be something left to dream of still!"

Wherefore, for aught we know, The golden apples grow In the green vale to which that pathway leads; The spirits of the wood Still haunt its solitude, And Pan sits piping there among the reeds!

GRIFFITH GAUNT; OR, JEALOUSY.