Part 2

I might multiply remarks of this sort without end, and perhaps with little profit to you; for it is too true, "that no man learns wisdom by another's experience." I am bound to own that it is not by the practice of these maxims that I have learned their value. But experience has perhaps convinced me of it somewhat sooner, because they were inculcated in my youth, by one whose advice I fear was never justly appreciated until his voice was hushed forever. My suggestions to you may answer the same end. If, when my head lies low, the recollection shall come to your minds accompanied by the feelings it awakens in mine, my labor will not be lost or unrewarded.

But there is one maxim learned in that same school, which no one who expects to thrive by his profession must neglect. The success of a lawyer and his honor as a man depend on his fidelity and punctuality. I need not recommend these to you. But a single auxiliary rule, in the observance of which there is perfect safety, may be of use.

"Whenever you receive money for a client, always consider that _specific_ money as his. Set apart the identical dollars and cents, just as you received them, done up into a parcel labelled with his name, and accompanied by a statement showing the amount received and the balance due after deducting your fees and commissions. Let a counterpart of this statement be drawn up in a book kept for the purpose, and always carried with you; and at the foot of this counterpart, take your client's receipt." In this proceeding there is something level to the apprehension, and obvious to the senses of all men. It will engage confidence, and multiply in your hands that sort of business, which, if not the most honorable, is the least laborious, and not the least profitable.

And now, my young friends, we close a relation which has been to me one of the happiest of my life. God grant it may prove equally profitable to you. If it does not, the fault is in me. I have indeed the satisfaction to know that my exertions are appreciated by you, at more than their real value; and that wherever your lots may be cast, you will long remember the months we have spent together with feelings responsive to my own. It has been my endeavor to divest the subject of our studies of its dryness, and to render it, if possible, less unpalatable than you had expected to find it. The task was difficult, but I hope I have not altogether failed. I have felt it my duty too, to lay aside the pedagogue, and to disarm my office of all austerity. In doing this I had but to yield to my natural disposition. The rules of our institution indeed placed me _in loco parentis_. But the relation of an elder brother was more congenial to my feelings. I am happy to believe that it has been so filled, as to establish the sentiments appropriate to it in each of our minds; and that, when the infirmities of age shall overtake me, there is not one of you who would not extend an arm to stay my tottering steps, as there is not one on whose shoulder I would not lean with confidence.

But my method of instruction was not adopted merely because it suited my disposition. I believed it most appropriate to the subject of your studies. It in some measure prepares you to enter in its true spirit into that relation to the heads of your profession, of which I have spoken. You will find few judges to whom the authority of office will not be as irksome as it is to me; and it will be in your choice to establish, between yourselves and your brethren of the bar and bench, the same sentiments which make our separation at once pleasant and painful.

I cannot take leave of you without offering and inviting congratulations on the distinguished harmony which has pervaded every department of our venerable institution. It has been a complete fulfilment of the reciprocal pledges passed at the commencement of the course, "that you should be treated as gentlemen, and that you would so demean yourselves." How far this desirable end has been promoted by the peculiar character and structure of the society of this place, you are capable of deciding. We must have been unwise, not to avail ourselves of the aids afforded by the moral influence of a circle of gentlemen and ladies, intelligent, refined, polite and hospitable, zealous for the honor and order of the college and the happiness of its professors and students. It is this ever present influence that has enabled us to dispense with the rigor of discipline, elsewhere so necessary. It is this which enables William and Mary College to preserve its distinctive characteristics. In any other situation they would soon disappear. The city and the college have grown together. They are moulded on each other. Each is a part of each. Each is necessary to the other. You might learn as much, or more, elsewhere; but where else would you leave behind, from what other place would you carry with you so much of those kindly affections, the cultivation of which is not the least important part of education? On these we have determined to stake the usefulness, the permanency, and the prosperity of our institution, and in these we find a reward for our labors, which nothing can take away.

For the Southern Literary Messenger.

LETTERS ON THE UNITED STATES OF AMERICA,

By a young Scotchman, now no more.

_Boston, 1832_.

DEAR HENRY,--Mr. Paulding and Miss Sedgewick, are, in my opinion, inferior in genius to the American writers I mentioned in my last. They may be classed as the secondary novelists of this country, though in general literature, Paulding is equal if not superior to Cooper. His tales are usually short and want interest; but his characters are well sketched, his incidents natural, and his opinions and observations characterized by good sense. There is, however, an affectation of humor in what he writes, that does not please me. It seems to consist more in the employment of quaint terms and odd phrases, than in the incident or character itself, and would appear to be the result of an early and frequent perusal of the works of Swift and Rabelais. His productions are neat and sensible, but not very imaginative or striking. The interest or curiosity of the reader is never powerfully excited, but he never fails to please by the manner in which he conducts his plots; the easy and perspicuous style he employs, the clear and happy illustration of the vice or folly he holds up to indignation or scorn, and the successful though sometimes exaggerated developement of the character he wishes to portray. In both Paulding and Cooper there is an overwhelming American feeling, which bursts forth on all occasions, and which, to a foreigner, seems to partake of the nature of deep rooted prejudice. It results, however, I have no doubt, from an ardent love of country, increased perhaps by the silly contumelies and sarcasms of the reviewers and travellers of our country. Mr. Paulding has not displayed any great depth or expansion of mind in anything he has yet written, though he has tried his wing in both prose and verse. His forte is satire, which, like that of Horace, is more playful than mordant and bitter. The productions of Miss Sedgewick which I have seen, are remarkable for good sense, but without much vigor of imagination. She succeeds best in quiet life. The delineation of the workings of passion, and of stormy and powerful emotions, are beyond the reach of her powers; but what she attempts she always does well. Her plots are generally without complication, and display no great fertility of invention; the incidents are not very striking and the characters are sometimes tame, and occasionally extravagant. They are not like the delineations of Miss Edgeworth, or Miss Mitford. You cannot form an idea of the nationality of the individual she sketches, and would as soon take him for a native of any other country as of her own. There is a manifest defect in this particular, in all the novelists I have mentioned. With the exception of the Indians who are occasionally introduced, there is scarcely any difference between their Americans, and the inhabitants of other lands. Cooper has indeed presented a finer gallery of American characters than any other writer, especially in his sketches of the early settlers or pioneers; but his characters, except in a few instances, are not usually distinguished by striking national peculiarities. This may possibly originate from the singular fact that in this country where men are free to rove where inclination leads, and to be under no other restraint than that which religion, law, or decency imposes, there is less peculiarity of character or individuality, than in any other portion of the globe with which I am acquainted. They have not yet attempted to give as in England, sketches of American society as it now exists, or may have existed since the organization of their government. Whether such pictures would indeed be interesting I am not prepared to say; but from the society in which I have mingled, I do not think it has variety enough, or differs sufficiently from that of other civilized nations to render such pictures striking or amusing. Genius, however, can accomplish every thing, and might give to what appears to be vapid and _ennuyant_, some novelty and interest.

There are some other novelists in the United States, whose productions, as they have sunk, or are rapidly sinking into oblivion, it is scarcely necessary to name. One of these is a man of talent, who, you will recollect, was an occasional contributor to the literary periodicals of our country, while a resident there. I mean J. Neale. His romances, from their wildness and extravagance, have been but little read, and are now nearly forgotten. He still, however, employs his pen, I understand, in doing what he can to edify and amuse his countrymen. Novel reading has been legitimatized by Sir Walter Scott, and though his productions furnish an admirable standard, nothing in the nature of romance now goes amiss, and the demand for works of fancy seems to increase in proportion to the number issued from the press, and the food that is furnished. Although the Americans are great novel readers, there is not much of romance in their character. There is too much matter-of-fact about them; they are too calculating and money-making to serve the purposes of the novelist. They form but indifferent heroes and heroines of romance, and hence Cooper is obliged to resort to the sea to rake up pirates and smugglers, or to go back to the revolution or the early settlement of his country to find characters and incidents calculated to give verisimilitude and interest to his tales.

In dramatic literature, but little has yet been done in the United States. Few appear to have devoted much of their attention to dramatic composition. I have seen but ten or twelve American plays in the course of my researches; and these, though they possessed a good deal of merit, have been suffered to sink into neglect, and are rarely performed. A much larger number, however, would appear to have been written and prepared for the stage. According to a catalogue I have lately seen, no less than 270 dramatic pieces have either been prepared for the theatre of this country, or written by Americans. Of these many were of course got up for temporary purposes, and when these purposes were answered were no longer remembered; but you will be surprised to learn that of this number, commencing in 1775, there are no less than _thirty-three tragedies_, the best of which are those which have been recently brought out, Metamora, Ouralasqui, a prize tragedy by a lady of Kentucky, and a combination of tragedies, by Paine, called Brutus, which has been on the stage for several years. The rest are scarcely remembered. The writer who seems to have devoted the largest portion of his time to dramatic literature in this country and who may be called the father of the American drama, is Mr. Dunlap, who has figured for many years in the various characters of dramatist, manager, and painter. His dramatic pieces amount to about 50, and he has already outlived their fame. Some of his translations from the German are still exhibited; but his original compositions are now never performed, and are almost forgotten. Mr. J. N. Barker of Philadelphia, stands next in point of fecundity, having given birth to ten dramatic bantlings in the course of his life, some of which are very creditable to their parent, but none are, I believe, stock plays. The prejudice against native writers was at one time so strong that the managers deemed it prudent to announce Mr. Barker's Marmion, Sir Walter's poem dramatized, as the production of Thomas Morton the author of Columbus. Mr. Dunlap was also I understand obliged to resort to the same expedient in relation to two or three of his plays; but as moon as it was known, their popularity, which had at first been considerable, immediately ceased, and they were laid upon the shelf. Such are some of the difficulties with which the American writer has to struggle; but these I am happy to learn are now giving way, and a more liberal spirit is beginning to prevail. It is to be hoped that the dramatic muse of America will soon be enabled to triumph over all the impediments which she has had to encounter, and repose in the same bower and be crowned with the same chaplet as her more fortunate sister of romance. Among the American plays which accident brought under my notice, was a comedy in five acts, entitled the "Child of Feeling," published in 1809, and written by a citizen of Washington. It seems to have been a juvenile production, written without much knowledge of the world, but with a due regard to the unities. The dialogue wants sprightliness and the plot interest, and I merely mention it now because its contains among its _dramatis personæ_ a character which is to me entirely original, and which if he really existed, the author must I think have caricatured in his copy. He is called Etymology, and does not belie his name, for he is constantly occupied in tracing every word that is spoken by himself or others to its root, and makes as may easily be supposed, some comic and ludicrous blunders. Till very recently, the author of even a successful play received scarcely any compensation for his labor, and the fame he acquired was but of short duration. Now however, it is otherwise, and both reputation and emolument attend the successful dramatist. The comedies, by American writers that I have seen, are not remarkable for their wit or humor, and therefore do not long retain their hold upon the stage. Dramatic exhibitions are not however held by the Americans in very high estimation, and this may be one of the causes of the low state of dramatic literature here. But the principal causes would appear to be the want of leisure, the devotion of the people to higher and more lucrative avocations, and the facility with which dramatic productions of established merit and popularity can be obtained from England. These causes operate in like manner I conceive, to prevent the attainment of that high poetical excellence which has yet to be reached by the worshippers of the muse in this country. The following remarks on this subject by an American writer are so pertinent, that I will transcribe them for your information. "We regret to say," says he, speaking of American poetry, "that much less has been done than might reasonably have been expected, even during our short political existence. We have indeed as yet scarcely done anything at which an American can look with conscious pride, as a trophy of native poetic genius. The ponderous and vapid Epic of Barlow, and the still more leaden and senseless heroics of Emmons, are far from giving reputation to the poetry of our country; and the fugitive and occasional pieces of Percival, Bryant, Halleck, &c. are not exactly such as we should select as a proof that we have done much in poetry. We have been in existence as a nation for upwards of half a century, and yet we have produced nothing that is certain to reach posterity, or that can be classed higher than the minor productions of Moore, Campbell, or Byron, of the present day. There is an apparent want of originality, and too great an appearance of imitation in the poetical efforts of our native bards to carry them far down the stream of time, though it must be conceded that they have discovered in these efforts no ordinary portion of genius. There would seem to be something either in the nature of our political institutions, or in the general character of our pursuits, which is inimical to the developement of high poetical power. We are not a very imaginative people; we prefer the reality to the ideal; we pursue the substance rather than the shadow. Our ambition is early fired by political distinction, or our exertions are directed to the attainment of competency or wealth. The public mind has been led into a train of thinking somewhat adverse to the indulgence of poetical enthusiasm, and not calculated to render it susceptible of deep and intense delight from the contemplation of poetical beauty. It has been led to consider that the highest efforts of genius are those which are displayed at the bar or in the senate, and to regard the power of forensic and parliamentary eloquence as the loftiest exhibition of intellectual excellence. To that which the mind is early taught to respect and admire its greatest exertions will be directed, and hence the number of those who resort to the profession of law, the career of legislation, or the pursuits of commerce," &c.

It is unquestionably true, that no great original poetical work of distinguished merit has yet made its appearance in the United States, but it cannot at the same time be denied, that the individuals this writer has named, with Bryant, Sigourney, Willis, and several others, possess a fine poetical vein, the _mens divinior_ of Horace. Some of their effusions contain passages of great beauty and splendor, and may be fairly classed with those of the first poets of our country. Most of them however, have merely what Mad. De Genlis calls the "art of making verses;" and either from the want of encouragement, the stimulus of praise, or continued enthusiasm, wing their flight briefly into the regions of poetic fancy, and seldom afterwards attempt any more lofty or daring excursions. But I must pause. I will endeavor in my next to bring my remarks on the science and literature of the United States to a close.

FINE PASSAGE IN HOOKER.

Hooker in his Ecclesiastical Polity says, "The time will come when three words, uttered with charity and meekness, shall receive a far more blessed reward, than three thousand volumes written with disdainful sharpness of wit."

For the Southern Literary Messenger.

TO ----.

The dial marks the sunny hour, Every brilliant moment noting, But it loses all its power When a cloud is o'er it floating, As if gloom should be forgot!

Thus on Time has Mem'ry dwelt, Tracing every fleeting minute, When thy radiant smiles were felt Courting each, if they were in it, Noting none if they were not!

For the Southern Literary Messenger.

PARAPHRASE

Of a figure in the first volume of Eugene Aram.

Tho' the Moon o'er yonder river Seems a partial glance to throw, Kissing waves that brightly quiver Whilst the rest in darkness flow, There's not a ripple of that stream Unsilvered by some hallowed beam.

Thus in life the bliss that mellows Ills, that else the soul would blight, Seems to fall upon our fellows Like that glance of partial light; Yet each spirit sunk in sadness, Feels in turn its ray of gladness!

For the Southern Literary Messenger.

TO MY SISTERS.

Tho' I have sworn in other ears, And kissing, sealed the oath in tears, Have owned a little world divine, Between my Sarah's lips and mine, And more than mortal blessed have felt, While there in Heav'nly bliss we dwelt, Yet I _loved_ not. But when I look, dear girls on ye, E'en in the look my worlds I see; No vow has passed--our years have proved That we have ever truly loved-- And in your every prayer I hear, My name so kindly whispered there, Oh! then I _love_.

ROSICRUCIUS.

For the Southern Literary Messenger.

LINES.

Sleep on, thou dear maiden, I'll guard thee from harm, No foe shall come nigh thee while strength's in this arm; As thy sweet breath comes o'er me wild wishes may rise, But honor still whispers--Remember the ties Which bind her to one to whom she is dear As his hopes of a heaven, she's all he has here. Yes, far be it from me my friend to betray-- To gain thy affections, whilst he, far away, But little suspects me, or dreams I would dare To deceive his heart's treasure--so lovely, so fair: Then sleep on, thou dear maiden, I'll guard thee from harm, No foe shall come nigh thee while strength's in this arm.

J. M. C. D.

For the Southern Literary Messenger.

GRAYSON GRIFFITH.

There is in a pleasant part of the Old Dominion, a thrifty village named Goodcheer. The inhabitants, from the first settlement of the place, were kind, and bland, and social. Indeed many of them went further. They jested, they fiddled, they danced, they sang songs, they played at cards, they drank wine, they frolicked. Yet was there among them a strong and steady current of public opinion against acts of very low and gross meanness or depravity. They were not liars, or thieves, or swindlers, or rakes.

In this village lived Gregory Griffith, the tanner, whose industry and probity earned for him a respectability and an independence rivalled by none except the old patriarch of the village, more generally known by the name of the Major. Gregory had married the eldest daughter of old farmer Ryefield, a woman well suited to make him happy. Her disposition was easy, and her habits industrious and economical. They were a bonny couple.

"The day moved swiftly o'er their heads, Made up of innocence and love."

Fourteen months after their marriage, their first born son, a lovely child, smiled in the face of his parents. Him they called Grayson. Nor was he the only pledge of their love. They alternately rejoiced over a daughter and a son, until their quiver was full, having four sons and three lovely daughters. The death of their second child, who bore her mother's name, had in the fourth year of their marriage, wrung the bleeding hearts of these parents, and chastened their feelings to sober thinking. Between their first born and their third child lay an interval of nearly five years--a period which Mr. and Mrs. Griffith always spoke of with deep emotion.